| n |
|
n |
@@PROCESS |
|
443 and 444. Pair of door-handles |
|
443 and 444. Pair of door-handles |
| in the form of fishes | | in the form of fishes |
| 11.2 cms. (length of each handle) | | 11.2 cms. (length of each handle) |
| Brass, highly polished but the backplates against the walnut door | | Brass, highly polished but the backplates against the walnut door |
| frames with a dark brown natural patina. | | frames with a dark brown natural patina. |
| Attached to, probably made for, and possibly designed for, the | | Attached to, probably made for, and possibly designed for, the |
| walnut panelled interior doors of the Hill Music Room, which were | | walnut panelled interior doors of the Hill Music Room, which were |
| designed 1938 and completed 1939. | | designed 1938 and completed 1939. |
| In July 1936 Alfred Hill of the firm ofwilliam E. Hill and | | In July 1936 Alfred Hill of the firm ofwilliam E. Hill and |
| Sons, then of 140 New Bond St, approached the Vice- | | Sons, then of 140 New Bond St, approached the Vice- |
| Chancellor with the idea of presenting to the University the | | Chancellor with the idea of presenting to the University the |
| celebrated collection of early musical instruments which he | | celebrated collection of early musical instruments which he |
| had formed with the help of his brother Arthur. The Curators | | had formed with the help of his brother Arthur. The Curators |
| of the Bodleian Library had decided by early 1937 that they | | of the Bodleian Library had decided by early 1937 that they |
| could not find a suitable space, but the Ashmolean Museum | | could not find a suitable space, but the Ashmolean Museum |
| was interested and had allocated the Sladc lecture room to | | was interested and had allocated the Sladc lecture room to |
| receive the collection by the summer of 1937 (a new lecture | | receive the collection by the summer of 1937 (a new lecture |
| room was created below the Draper's Gallery, then being | | room was created below the Draper's Gallery, then being |
| planned). In October Alfred Hill first suggcstcd Allom as | | planned). In October Alfred Hill first suggcstcd Allom as |
| architect for the conversion of the room. Hc did so on the | | architect for the conversion of the room. Hc did so on the |
| recommendation of F. H. H. Romaine Walker who was too | | recommendation of F. H. H. Romaine Walker who was too |
| ill to take on the job himself. Allom was the `leading decorator | | ill to take on the job himself. Allom was the `leading decorator |
| here and in New York'-also a noted yachtsman and golf-playcr. | | here and in New York'-also a noted yachtsman and golf-playcr. |
| Hill's first idea was for a panelled `Georgian' room | | Hill's first idea was for a panelled `Georgian' room |
| and Romaine Walker had dreamt of recreating the setting of | | and Romaine Walker had dreamt of recreating the setting of |
| an eighteenth-century conversation piece, but Allom, whose | | an eighteenth-century conversation piece, but Allom, whose |
| designs were probably made after the official acceptance of | | designs were probably made after the official acceptance of |
| the gift in June 1938, wanted to create something Italian for | | the gift in June 1938, wanted to create something Italian for |
| what was a largely Italian collection. The plaster frieze which | | what was a largely Italian collection. The plaster frieze which |
| he supplied, consisting of shields set in scallopcd tondi and | | he supplied, consisting of shields set in scallopcd tondi and |
| swags between with dainty fluttering ribbons, has a Florcntinc | | swags between with dainty fluttering ribbons, has a Florcntinc |
| quattrocento flavour. Nothing remains of his original colour | | quattrocento flavour. Nothing remains of his original colour |
| scheme except the remarkably accomplished imitation of pc7ide | | scheme except the remarkably accomplished imitation of pc7ide |
| ¢"f¢.co for the skirting, but origivally the door frame, and | | ¢"f¢.co for the skirting, but origivally the door frame, and |
| perhaps other features, were coloured to resemble P¢.e£7t¢ | | perhaps other features, were coloured to resemble P¢.e£7t¢ |
| Jcye"¢. The design of the door frame caused considerable | | Jcye"¢. The design of the door frame caused considerable |
| acrimony. Allom wanted to give it a pediment inspired by one | | acrimony. Allom wanted to give it a pediment inspired by one |
| on the Pazzi Chapel. Parker felt that this was inappropriate | | on the Pazzi Chapel. Parker felt that this was inappropriate |
| and the Kcepcr of the Museum, E. T. Leeds, put the case | | and the Kcepcr of the Museum, E. T. Leeds, put the case |
| against the pediment in a letter to Allom of 5 October. Allom | | against the pediment in a letter to Allom of 5 October. Allom |
| replied with assurances of his extensive study of Italian art: `1 | | replied with assurances of his extensive study of Italian art: `1 |
| know I am right'-nd moreover Mr Hill liked his door. | | know I am right'-nd moreover Mr Hill liked his door. |
| Cockerell's architecture was Greek, Allom was reminded. But | | Cockerell's architecture was Greek, Allom was reminded. But |
| Allom was able to point out that Cockcrell's work had many | | Allom was able to point out that Cockcrell's work had many |
| Italian Renaissance features. By the end of the month the | | Italian Renaissance features. By the end of the month the |
| Visitors had rcjccted the pediment. The door itself is a | | Visitors had rcjccted the pediment. The door itself is a |
| handsome if conventional design and made of splendidly | | handsome if conventional design and made of splendidly |
| figured walnut. The stylized dolphin-like fish used for the | | figured walnut. The stylized dolphin-like fish used for the |
| entirely modern handles were as popular in Greece in the fifth | | entirely modern handles were as popular in Greece in the fifth |
| and fourth centuries BC as in Italy in the fifteenth and | | and fourth centuries BC as in Italy in the fifteenth and |
| sixteenth centuries AD. They would certainly have met with | | sixteenth centuries AD. They would certainly have met with |
| Cockcrell's approval and seem not to have excited any | | Cockcrell's approval and seem not to have excited any |
| disapproval within the Museum. But then the war interrupted | | disapproval within the Museum. But then the war interrupted |
| the whole debate and by the time the Room was officially | | the whole debate and by the time the Room was officially |
| opened in 1950 Allom was dead. | | opened in 1950 Allom was dead. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Galizia foundry, Chatficld Road, Battersea, Ijondon | | Galizia foundry, Chatficld Road, Battersea, Ijondon |
| After Kenneth ARMITAGE CBE (b. 1916) | | After Kenneth ARMITAGE CBE (b. 1916) |
| n | | n | @@PROCESS |
| 445. The Bed | | 445. The Bed |
| 11.8 cms. (height); 21.4 cms. (length) | | 11.8 cms. (height); 21.4 cms. (length) |
| Bronze with a uniform black patina. I.ost-wax cast, the fuller foms | | Bronze with a uniform black patina. I.ost-wax cast, the fuller foms |
| open below. Incised in the model at the lower edge of the taller | | open below. Incised in the model at the lower edge of the taller |
| vertical element `2/6' and `65 KA'. | | vertical element `2/6' and `65 KA'. |
| From the collection of Christophcr Hewett ( 1938-83) given to the | | From the collection of Christophcr Hewett ( 1938-83) given to the |
| Museum by his family in June 1985 and included in the exhibition | | Museum by his family in June 1985 and included in the exhibition |
| celebrating the dft held in the MCAlpine Gallery in January and | | celebrating the dft held in the MCAlpine Gallery in January and |
| February 1987 (no.12 in the catalogue). A charcoal drawing and a | | February 1987 (no.12 in the catalogue). A charcoal drawing and a |
| photo-etching by Armitage were also included in the gift to the | | photo-etching by Armitage were also included in the gift to the |
| Museum. Three drawings and two sculptures by him from Hcwctt's | | Museum. Three drawings and two sculptures by him from Hcwctt's |
| collection were presented at the same time to the Henry Moore | | collection were presented at the same time to the Henry Moore |
| Centre for the Study of Sculpture at Leeds City Art Gallery. | | Centre for the Study of Sculpture at Leeds City Art Gallery. |
| Armitage had exhibited at Hewett's Taranman Gallery in 1982. | | Armitage had exhibited at Hewett's Taranman Gallery in 1982. |
| The sculptor explained that this sculpture origivated in the | | The sculptor explained that this sculpture origivated in the |
| spectacle of a friend crossly burying her head under the bcd-linen, | | spectacle of a friend crossly burying her head under the bcd-linen, |
| thus inadvertently exposing her buttocks. `Thcre were | | thus inadvertently exposing her buttocks. `Thcre were |
| two different versions of this tiny piece but similar in size. | | two different versions of this tiny piece but similar in size. |
| Thcrc was also a very much bigger version in white fibre-glass.' | | Thcrc was also a very much bigger version in white fibre-glass.' |
| It was cast in an edition of six in 1965. The theme of | | It was cast in an edition of six in 1965. The theme of |
| combining human forms with furniture is found in other more | | combining human forms with furniture is found in other more |
| recent work by Armitage such as his three bronze Cf7¢¢.7tf (of | | recent work by Armitage such as his three bronze Cf7¢¢.7tf (of |
| 1981; nos.1-3 in the Taranman exhibition of 1982, where | | 1981; nos.1-3 in the Taranman exhibition of 1982, where |
| au arc mustrated). | | au arc mustrated). |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Perhaps after Thomas BANKS ( 1735-1805) | | Perhaps after Thomas BANKS ( 1735-1805) |
| n | | n | @@PROCESS |
| 446. Contemplation (Pudicitia) | | 446. Contemplation (Pudicitia) |
| 42 cms. (height including integral base of 2.4 cms.) | | 42 cms. (height including integral base of 2.4 cms.) |
| Plaster. White discoloured to grey. Hollow cast. Some small chips | | Plaster. White discoloured to grey. Hollow cast. Some small chips |
| missing from head and back of base. The hollow containing a label | | missing from head and back of base. The hollow containing a label |
| inscribed in pen `Presented by the Misses Bullock-Webster 1916' | | inscribed in pen `Presented by the Misses Bullock-Webster 1916' |
| and the base itself pasted with two paper labels inscribed in pen in | | and the base itself pasted with two paper labels inscribed in pen in |
| a hand of c.1900 `Contemplation. / modelled by / Thomas Banks. | | a hand of c.1900 `Contemplation. / modelled by / Thomas Banks. |
| RA. Sculptor/Born 1735 Died 1805' and `a friend of gt. | | RA. Sculptor/Born 1735 Died 1805' and `a friend of gt. |
| grandfather / and mother Edward & Rachel Webster / and given to | | grandfather / and mother Edward & Rachel Webster / and given to |
| them by him / with other models and medallions / which were not | | them by him / with other models and medallions / which were not |
| kept.' (The name is not certainly Webster.) | | kept.' (The name is not certainly Webster.) |
| Given by the Misses Bullock-Webster,1916 (A""#¢/ RcPo# ( 1916), | | Given by the Misses Bullock-Webster,1916 (A""#¢/ RcPo# ( 1916), |
| 14). | | 14). |
| The plaster came to the Museum under the Kccpership of | | The plaster came to the Museum under the Kccpership of |
| C. F. Ben who claimed Banks as a forebear and was probably | | C. F. Ben who claimed Banks as a forebear and was probably |
| already collecting the material on him which he would | | already collecting the material on him which he would |
| eventually publish (more out of antiquarianism and piety than | | eventually publish (more out of antiquarianism and piety than |
| any high estimate of the sculptor's ability) as A»»¢/f a/T77oov¢f | | any high estimate of the sculptor's ability) as A»»¢/f a/T77oov¢f |
| Bo»fu (Cambridge,1938). And yet in that volume no mention | | Bo»fu (Cambridge,1938). And yet in that volume no mention |
| is made of this statuette. Bell recognized that it was a cast of | | is made of this statuette. Bell recognized that it was a cast of |
| a furly accurate copy of the portrait statue in the Vatican | | a furly accurate copy of the portrait statue in the Vatican |
| Collection known as the £¢.pG.a A4:¢#G¢. or P#dG.c¢.f¢.a and much | | Collection known as the £¢.pG.a A4:¢#G¢. or P#dG.c¢.f¢.a and much |
| esteemed in the eighteenth century (see F. Haskcll and N. | | esteemed in the eighteenth century (see F. Haskcll and N. |
| Penny, T¢#G ¢»d £4G A„f¢.g#c (Ijondon and New Haven, | | Penny, T¢#G ¢»d £4G A„f¢.g#c (Ijondon and New Haven, |
| Conn.,1981), 300-I) and he may therefore have dismissed | | Conn.,1981), 300-I) and he may therefore have dismissed |
| the legend that it was by Banks. And yet some connection | | the legend that it was by Banks. And yet some connection |
| with him is likely. It might merely be a cast of a copy by | | with him is likely. It might merely be a cast of a copy by |
| someone else which was in the sculptor's studio, but that | | someone else which was in the sculptor's studio, but that |
| Banks was interested by the figure is probable, especially | | Banks was interested by the figure is probable, especially |
| when we consider his paraphrase of other notable antique | | when we consider his paraphrase of other notable antique |
| figures for the captives around the pedestal of the monument | | figures for the captives around the pedestal of the monument |
| to Captain Richard Rundell Burgess in St Paul's (the model | | to Captain Richard Rundell Burgess in St Paul's (the model |
| for which was exhibited in 1802). And that he did make | | for which was exhibited in 1802). And that he did make |
| reduced and modified copies after the antique is demonstrated | | reduced and modified copies after the antique is demonstrated |
| by the medallions of A4lo#g¢.„g and EPG"¢.„g commissioned | | by the medallions of A4lo#g¢.„g and EPG"¢.„g commissioned |
| from hin by Sir John Soane for the pendentivcs of the ceihng | | from hin by Sir John Soane for the pendentivcs of the ceihng |
| of the Old Dividend Office in the I.othbury Court of the | | of the Old Dividend Office in the I.othbury Court of the |
| Bank of England (now dcstroycd) which were based on | | Bank of England (now dcstroycd) which were based on |
| terracotta versions which he is said to have made in Rome | | terracotta versions which he is said to have made in Rome |
| and which arc now in Sir John Soane's Museum (Bell, op. | | and which arc now in Sir John Soane's Museum (Bell, op. |
| cit. 147). Indeed the latter may well be connected with the | | cit. 147). Indeed the latter may well be connected with the |
| `models and mcdallions' mentioned on the old label. The | | `models and mcdallions' mentioned on the old label. The |
| ways in which the plaster differs from the antique marble are | | ways in which the plaster differs from the antique marble are |
| compatible with Banks's taste: the figurc's right hand is drawn | | compatible with Banks's taste: the figurc's right hand is drawn |
| closer into her drapery, the hair and diadem are altered, the | | closer into her drapery, the hair and diadem are altered, the |
| veil falls more softly over her left shoulder, and there are | | veil falls more softly over her left shoulder, and there are |
| adjustments to the length of drapery falling in front of her | | adjustments to the length of drapery falling in front of her |
| left arm. | | left arm. |
| \ | | \ |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Unknown foundry | | Unknown foundry |
| After Gilbert William BAYES ( 1872-1953) | | After Gilbert William BAYES ( 1872-1953) |
| n | | n | @@PROCESS |
| 447. Sigurd | | 447. Sigurd |
| 71.9 cms. (height of bronze group); 36 cms. (length of integral | | 71.9 cms. (height of bronze group); 36 cms. (length of integral |
| bronze plinth); 27 cms. (width of bronze plinth); 17.4 cms. | | bronze plinth); 27 cms. (width of bronze plinth); 17.4 cms. |
| (height of marble block); 44.4 cms. (length of marble block); | | (height of marble block); 44.4 cms. (length of marble block); |
| 28.2 cms. (width of marble block); 99.5 cms. (height of wooden | | 28.2 cms. (width of marble block); 99.5 cms. (height of wooden |
| pedestal); 81 cms. (length of wooden pedestal); 43 cms. (width | | pedestal); 81 cms. (length of wooden pedestal); 43 cms. (width |
| of wooden pedestal) | | of wooden pedestal) |
| Bronze with a dark brown patina deliberately worn to a golden | | Bronze with a dark brown patina deliberately worn to a golden |
| brown in some areas in relief (such as the dragon on his saddle-cloth | | brown in some areas in relief (such as the dragon on his saddle-cloth |
| and the helmet ornament), with some blue and green enamel | | and the helmet ornament), with some blue and green enamel |
| in champleve fields of the saddle-cloth and bridle. Hollow cast, by | | in champleve fields of the saddle-cloth and bridle. Hollow cast, by |
| the sand-cast method, in pieces. The plinth was cast separately and | | the sand-cast method, in pieces. The plinth was cast separately and |
| its underside reveals, at the points of contact with the three hoofs, | | its underside reveals, at the points of contact with the three hoofs, |
| the iron armature inside the cast of the horse. The rider and horse | | the iron armature inside the cast of the horse. The rider and horse |
| were cast separately, as were the parts of the bridle and saddle-cloth | | were cast separately, as were the parts of the bridle and saddle-cloth |
| decorated with enamel. In the case of the saddle-cloth this is only | | decorated with enamel. In the case of the saddle-cloth this is only |
| apparent at the points of contact with the horse's back legs and the | | apparent at the points of contact with the horse's back legs and the |
| hero's feet. The reins and sword strap of pliable copper are added. | | hero's feet. The reins and sword strap of pliable copper are added. |
| The latter has been broken off: the rivet originally attaching it to | | The latter has been broken off: the rivet originally attaching it to |
| the flapping cloak remains. `GILBERT BATES / 1910' is chiselled in | | the flapping cloak remains. `GILBERT BATES / 1910' is chiselled in |
| the bronze across the corner of the plinth by the horse's back right | | the bronze across the corner of the plinth by the horse's back right |
| hoof. In raised letters of `Lombardic' form around the four sides of | | hoof. In raised letters of `Lombardic' form around the four sides of |
| the plinth is the following text: `He . who . would . win . to /the . | | the plinth is the following text: `He . who . would . win . to /the . |
| Heavens . & . bc . as . the . Gods . on . high/ must . tremble . | | Heavens . & . bc . as . the . Gods . on . high/ must . tremble . |
| nought . at . /the . road . & . the . place . where . men . folk . | | nought . at . /the . road . & . the . place . where . men . folk . |
| die'. The bronze plinth is mounted on, but unsecured to, a marble | | die'. The bronze plinth is mounted on, but unsecured to, a marble |
| block decorated with panels in sunk relief with some gilding now | | block decorated with panels in sunk relief with some gilding now |
| mostly worn off, chipped, scratched, discoloured with dirt and with | | mostly worn off, chipped, scratched, discoloured with dirt and with |
| red paint. This block is, in turn, mounted on, but unsccured to, a | | red paint. This block is, in turn, mounted on, but unsccured to, a |
| wooden pedestal, painted to resemble stone, decorated with panels | | wooden pedestal, painted to resemble stone, decorated with panels |
| in sunk relief. Above the higher ffieze of figures on one side arc the | | in sunk relief. Above the higher ffieze of figures on one side arc the |
| names `BRyNHILD . GRIMHILD . GUDRUN' with the text above the | | names `BRyNHILD . GRIMHILD . GUDRUN' with the text above the |
| lower frieze: `AND . LO . THE . HoPE . oF . THE . PEol>LE ; THE | | lower frieze: `AND . LO . THE . HoPE . oF . THE . PEol>LE ; THE |
| DAys . oF . A . KING . ARE . BEGUN' and on the opposite side | | DAys . oF . A . KING . ARE . BEGUN' and on the opposite side |
| `GUNNAR', `HOGNI', `GOGGORM', on the banners held by the warriors | | `GUNNAR', `HOGNI', `GOGGORM', on the banners held by the warriors |
| in the higher frieze. The painting on the pedestal is generally | | in the higher frieze. The painting on the pedestal is generally |
| discoloured with dirt and is also flaking. The separate wooden | | discoloured with dirt and is also flaking. The separate wooden |
| elements are dividing where formerly glued and are also splitting. | | elements are dividing where formerly glued and are also splitting. |
| Bequeathed by the Revd J. W. R Brocklebank in 1927. Acquired by | | Bequeathed by the Revd J. W. R Brocklebank in 1927. Acquired by |
| him in 1910 in substitution for an earlier cast of the same figure | | him in 1910 in substitution for an earlier cast of the same figure |
| (see below). The pedestal had been completed in March 1910 and | | (see below). The pedestal had been completed in March 1910 and |
| the marble base made in June in the previous year. No. I on Andrew | | the marble base made in June in the previous year. No. I on Andrew |
| Shirley's receipt of January 1927. | | Shirley's receipt of January 1927. |
| S¢j#7i¢ was exhibited at the Royal Academy in 1909 (as | | S¢j#7i¢ was exhibited at the Royal Academy in 1909 (as |
| no.1834, S¢j"7i¢-eg#ctrr¢.¢7? f£#f#c#G, 47io7£2;e). Bayes had | | no.1834, S¢j"7i¢-eg#ctrr¢.¢7? f£#f#c#G, 47io7£2;e). Bayes had |
| made his reputation with sculpture of horses and his interest | | made his reputation with sculpture of horses and his interest |
| in Nordic mythology had been evident as carly as 1894 when | | in Nordic mythology had been evident as carly as 1894 when |
| he exhibited 777c r¢.dc a/£¢G V¢/ky7p¢.cf at the Royal Academy. | | he exhibited 777c r¢.dc a/£¢G V¢/ky7p¢.cf at the Royal Academy. |
| S¢j#7:¢ is the hero of the E/¢Gy E¢de, a source made available | | S¢j#7:¢ is the hero of the E/¢Gy E¢de, a source made available |
| to the educated public of that period by William Morris's | | to the educated public of that period by William Morris's |
| vcrstror\, The Story Of Sigurd the Volsung. Here. he tildes Grey | | vcrstror\, The Story Of Sigurd the Volsung. Here. he tildes Grey |
| Fell (Sft of Odin), holding aloft the maric sword Gram or | | Fell (Sft of Odin), holding aloft the maric sword Gram or |
| Wrath, having slain the dragon Fafhir. The dragon is | | Wrath, having slain the dragon Fafhir. The dragon is |
| represcntcd on his helm-crest and saddle-cloth. The Branstock | | represcntcd on his helm-crest and saddle-cloth. The Branstock |
| tree, emblematic of the Volsung dynasty, is represcntcd in | | tree, emblematic of the Volsung dynasty, is represcntcd in |
| enamel on the saddle-cloth. | | enamel on the saddle-cloth. |
| Brocklebank offered £150 (presumably the asking price) | | Brocklebank offered £150 (presumably the asking price) |
| for the bronze on 17 June 1909 probably as soon as he saw | | for the bronze on 17 June 1909 probably as soon as he saw |
| it and Bayes promptly rcplicd accepting this offer on 18 June. | | it and Bayes promptly rcplicd accepting this offer on 18 June. |
| This reply is the first of a series of letters from him to | | This reply is the first of a series of letters from him to |
| Brocklebank which survive in the Department's archive. | | Brocklebank which survive in the Department's archive. |
| Brocklcbank, doubtless realizing that the bronze needed to | | Brocklcbank, doubtless realizing that the bronze needed to |
| be seen from all sides, and was, with its marble base, too large | | be seen from all sides, and was, with its marble base, too large |
| and heavy to be placed on any existing piece of furniture, | | and heavy to be placed on any existing piece of furniture, |
| asked the sculptor to design a pedestal for it. On 30 June | | asked the sculptor to design a pedestal for it. On 30 June |
| Bayes thanked Brocklebank for his cheque, observed that the | | Bayes thanked Brocklebank for his cheque, observed that the |
| last day of the Academy exhibition is `always the Aug. Bank | | last day of the Academy exhibition is `always the Aug. Bank |
| Hohday', and concluded, `1 shall be roughing out the sketch | | Hohday', and concluded, `1 shall be roughing out the sketch |
| for the base shortly 8c will send it up to you.' On 17 August | | for the base shortly 8c will send it up to you.' On 17 August |
| he wrote, apologizing that the bronze had not returned from | | he wrote, apologizing that the bronze had not returned from |
| the Academy when he left town but he expected to bc in | | the Academy when he left town but he expected to bc in |
| I.ondon the following week and, as soon as he had made `a | | I.ondon the following week and, as soon as he had made `a |
| note of the carving on the marble and the colour scheme, so | | note of the carving on the marble and the colour scheme, so |
| that the pedestal may bc in keeping with them', hc would | | that the pedestal may bc in keeping with them', hc would |
| have the group packed up and sent. `In the meantime I enclose | | have the group packed up and sent. `In the meantime I enclose |
| a sketch of what I propose. The carving on it is very simple | | a sketch of what I propose. The carving on it is very simple |
| incised carving with colour introduced into the deep sunk | | incised carving with colour introduced into the deep sunk |
| background of the reliefs 8c patterns.' | | background of the reliefs 8c patterns.' |
| Brocklebank was obviously impatient and a lcttcr from | | Brocklebank was obviously impatient and a lcttcr from |
| Baycs dated 25 August apolodzcs for the delay and promises | | Baycs dated 25 August apolodzcs for the delay and promises |
| to dispatch the group on 27 August; then one of 27 August | | to dispatch the group on 27 August; then one of 27 August |
| apolodzes for it not being sent owing to a misunderstanding | | apolodzes for it not being sent owing to a misunderstanding |
| but assures Brocklcbank that it will go first thing tomorrow. | | but assures Brocklcbank that it will go first thing tomorrow. |
| `1 have had the marble 8c bronze packed separately as being | | `1 have had the marble 8c bronze packed separately as being |
| safer, the screw, nut, & stcading pin being packed with the | | safer, the screw, nut, & stcading pin being packed with the |
| marble.' He added that `1 hope you received the sketch design | | marble.' He added that `1 hope you received the sketch design |
| for the wooden pedestal that I sent you from abroad. Will | | for the wooden pedestal that I sent you from abroad. Will |
| you let mc have it back when you have decided how you hke | | you let mc have it back when you have decided how you hke |
| it.' It is possible that Brocklebank was irritated by the delay | | it.' It is possible that Brocklebank was irritated by the delay |
| for Bayes wrote on 6 September expressing the hope that the | | for Bayes wrote on 6 September expressing the hope that the |
| group had arrived safely, not having heard that it had done | | group had arrived safely, not having heard that it had done |
| so (a courtesy he would certainly have expected). In the next | | so (a courtesy he would certainly have expected). In the next |
| letter of 24 February 1910 Baycs sincerely regrets `having | | letter of 24 February 1910 Baycs sincerely regrets `having |
| been so long upon the ``Sigurd" base but a number of | | been so long upon the ``Sigurd" base but a number of |
| un-expected things turned up in connection with it' and | | un-expected things turned up in connection with it' and |
| concludes that he hopes to send it within the month. On 15 | | concludes that he hopes to send it within the month. On 15 |
| March he announced that he was sending it on the following | | March he announced that he was sending it on the following |
| evening. | | evening. |
| I have lost all sense of the wood er given it a `granulated' surface as | | I have lost all sense of the wood er given it a `granulated' surface as |
| you suggested erhave kept the top panels low in tone to lead up | | you suggested erhave kept the top panels low in tone to lead up |
| to the bronze. | | to the bronze. |
| In the front of the base the upper panel represents the three | | In the front of the base the upper panel represents the three |
| Niblung brothers Gunnar, Hogni, 8c Guttom; the relief below, | | Niblung brothers Gunnar, Hogni, 8c Guttom; the relief below, |
| `the funeral of Sigurd'. | | `the funeral of Sigurd'. |
| On the back are the three women Blynhild, Grimhild 8c Guchm | | On the back are the three women Blynhild, Grimhild 8c Guchm |
| who had played the most important part in the life of Sigurd. | | who had played the most important part in the life of Sigurd. |
| Below is the child Sigurd being taken to RIng Elf to be named, | | Below is the child Sigurd being taken to RIng Elf to be named, |
| with an inscription above `and lo, the hope of the people, the days | | with an inscription above `and lo, the hope of the people, the days |
| ofa king are begun'. On the capitals are the ravens of odin `Thought' | | ofa king are begun'. On the capitals are the ravens of odin `Thought' |
| er'`Speech'. | | er'`Speech'. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| You will find the base so solidly constructed that it will need no | | You will find the base so solidly constructed that it will need no |
| further weighting, in fact I found it an advantage to have casters. | | further weighting, in fact I found it an advantage to have casters. |
| I trust you understand how sorry I am to have kept you waiting | | I trust you understand how sorry I am to have kept you waiting |
| so long, but each stage, the making, carving, gilding c?colouring | | so long, but each stage, the making, carving, gilding c?colouring |
| ran into more time that I had anticipated. | | ran into more time that I had anticipated. |
| There was, it sccms, no reply to this from Brocklebank who | | There was, it sccms, no reply to this from Brocklebank who |
| was perhaps again irritated by the delay and also by the bill | | was perhaps again irritated by the delay and also by the bill |
| for £50 which may have accompanied Bayes's letter. `1 have | | for £50 which may have accompanied Bayes's letter. `1 have |
| been hoping to hear from you as to whether you like the base | | been hoping to hear from you as to whether you like the base |
| 8c if the colouring suits the room', wrote Bayes on 3 April | | 8c if the colouring suits the room', wrote Bayes on 3 April |
| with a brevity that surely also imphed that he expected | | with a brevity that surely also imphed that he expected |
| payment. On 12 April he wrote as follows: | | payment. On 12 April he wrote as follows: |
| I am in receipt of yours givam glad to hear that you think the base | | I am in receipt of yours givam glad to hear that you think the base |
| suits the `Sigurd' very well. | | suits the `Sigurd' very well. |
| It is unfortunate that you think it expensive at £50 as it shows | | It is unfortunate that you think it expensive at £50 as it shows |
| that the measure of your appreciation docs not equal the amount | | that the measure of your appreciation docs not equal the amount |
| of work and thought I have expended upon it. | | of work and thought I have expended upon it. |
| I should myself have liked to add side panels but as it was costing | | I should myself have liked to add side panels but as it was costing |
| me up to the amount you wished to pay, I had reluctantly to | | me up to the amount you wished to pay, I had reluctantly to |
| abandon the idea. You are probably wanting a base with much less | | abandon the idea. You are probably wanting a base with much less |
| thought & labour 8[ would prefer to spend a lesser sum upon it. | | thought & labour 8[ would prefer to spend a lesser sum upon it. |
| In that case now that a suitable base has been thought out could | | In that case now that a suitable base has been thought out could |
| not your local joiner, that you mentioned, make an inexpensive one | | not your local joiner, that you mentioned, make an inexpensive one |
| for you leaving out the art? Doubtless a second one made from that | | for you leaving out the art? Doubtless a second one made from that |
| which is already thought out could be made more cheaply for you. | | which is already thought out could be made more cheaply for you. |
| The price I had to pay for mine would astonish you I can see from | | The price I had to pay for mine would astonish you I can see from |
| your letter. | | your letter. |
| If you decide to have a less expensive one, would you be good | | If you decide to have a less expensive one, would you be good |
| enough to let me have mine back at your earliest convenience as I | | enough to let me have mine back at your earliest convenience as I |
| will make use of it myself. | | will make use of it myself. |
| This worked, and on 20 April Bayes wrote thanking | | This worked, and on 20 April Bayes wrote thanking |
| Brocklcbank for his | | Brocklcbank for his |
| letters & cheque, & expression of appreciation of `Sigurd'. I hope | | letters & cheque, & expression of appreciation of `Sigurd'. I hope |
| as time goes on the base will further increase your liking of the | | as time goes on the base will further increase your liking of the |
| work as a whole. Should it not I will exchange it for a statuette. | | work as a whole. Should it not I will exchange it for a statuette. |
| I was glad to have your assurance that I had removed any doubts | | I was glad to have your assurance that I had removed any doubts |
| you might have had as to my straightforwardness in the matter & | | you might have had as to my straightforwardness in the matter & |
| shall be glad to show you the work I have in my studio when you | | shall be glad to show you the work I have in my studio when you |
| care to pay me a visit. | | care to pay me a visit. |
| I did not take much care of the little water colour sketch during | | I did not take much care of the little water colour sketch during |
| the construction of the base & damaged it while making a couple | | the construction of the base & damaged it while making a couple |
| of clay models from it. | | of clay models from it. |
| In the meantime Bayes had made a revised version of the | | In the meantime Bayes had made a revised version of the |
| group and this was exhibited at the Royal Academy (no. 1913, | | group and this was exhibited at the Royal Academy (no. 1913, |
| Sigurd-Statuette, bron2;e and enunel). In the oritrnal S±g\ird | | Sigurd-Statuette, bron2;e and enunel). In the oritrnal S±g\ird |
| had held aloft the ring Andvaranant which Fafiiir had guarded. | | had held aloft the ring Andvaranant which Fafiiir had guarded. |
| In this version hc held his sword. Brocklcbank considered this | | In this version hc held his sword. Brocklcbank considered this |
| alteration to be an improvement. `1 will have a photograph | | alteration to be an improvement. `1 will have a photograph |
| of Sigurd 11 sent off tomorrow', Bayes wrote to him on 18 | | of Sigurd 11 sent off tomorrow', Bayes wrote to him on 18 |
| June 1910. | | June 1910. |
| It is not a very good one but was taken at the last moment before | | It is not a very good one but was taken at the last moment before |
| the bronze was sent off to the Academy. I am interested to hear | | the bronze was sent off to the Academy. I am interested to hear |
| you like the alteration but regret it should make you jealous. | | you like the alteration but regret it should make you jealous. |
| Would you care for me to have a fourth cast made similar to the | | Would you care for me to have a fourth cast made similar to the |
| Academy one and let you have it in place of yours? | | Academy one and let you have it in place of yours? |
| Bayes could not offer the cast on exhibition at the Academy | | Bayes could not offer the cast on exhibition at the Academy |
| because it had been purchased under the terms of the | | because it had been purchased under the terms of the |
| Chantrey Bequest for the Tate Gallery (no. 2739-reserve | | Chantrey Bequest for the Tate Gallery (no. 2739-reserve |
| collection). | | collection). |
| An undated letter of either late June or early July informed | | An undated letter of either late June or early July informed |
| Brocklebank that he was thinking of having another cast made | | Brocklebank that he was thinking of having another cast made |
| of S¢j"%¢ `for the Rome International next year Cr as I | | of S¢j"%¢ `for the Rome International next year Cr as I |
| gathered from your letter that this year's Sigurd was the | | gathered from your letter that this year's Sigurd was the |
| favourite I am willing to have an extra cast made for you giv | | favourite I am willing to have an extra cast made for you giv |
| send the one you now have to the Exhibition. There will be | | send the one you now have to the Exhibition. There will be |
| no extra expense involved a this arrangement will I think | | no extra expense involved a this arrangement will I think |
| please you better.' | | please you better.' |
| Evidently Brocklebank agreed to this proposal and on 5 | | Evidently Brocklebank agreed to this proposal and on 5 |
| July Bayes explained that it would be thrcc or four months | | July Bayes explained that it would be thrcc or four months |
| before the exchange could be arranged. On 29 October he | | before the exchange could be arranged. On 29 October he |
| explained that the marble base need not bc sent (so this can | | explained that the marble base need not bc sent (so this can |
| be dated to 1909) and also that the new cast might take a few | | be dated to 1909) and also that the new cast might take a few |
| days more than anticipated `as one of the smaller enamels has | | days more than anticipated `as one of the smaller enamels has |
| bccn troublesome and requires a fresh piece casting'. The | | bccn troublesome and requires a fresh piece casting'. The |
| bronze was no. 1078 in the British Section of the | | bronze was no. 1078 in the British Section of the |
| International Fine Arts Exhibition. | | International Fine Arts Exhibition. |
| An additional letter by Bayes concerning the group survives | | An additional letter by Bayes concerning the group survives |
| in the Department's archives dated 19 December 1927 in | | in the Department's archives dated 19 December 1927 in |
| response to an enquiry concerlring the sculpture by Andrew | | response to an enquiry concerlring the sculpture by Andrew |
| Shirley. Bayes cxplaincd that Brocklebank's bronze was a | | Shirley. Bayes cxplaincd that Brocklebank's bronze was a |
| replica of the Chantrey purchase now in the Tate Gallery | | replica of the Chantrey purchase now in the Tate Gallery |
| which was exhibited in 1910 but adding the information that | | which was exhibited in 1910 but adding the information that |
| the `wooden pedestal was executed for Mr Brocklebank-the | | the `wooden pedestal was executed for Mr Brocklebank-the |
| following year'. It was in fact cxccuted for him in the year | | following year'. It was in fact cxccuted for him in the year |
| following his purchase of the 1909 Academy version, as we | | following his purchase of the 1909 Academy version, as we |
| have seen. The whole business is made more confusing by | | have seen. The whole business is made more confusing by |
| the fact that the most accessible published illustration of | | the fact that the most accessible published illustration of |
| SGj#71¢ is fig. 197, pl. CVII, of Herbert Maryon's A4lodG" | | SGj#71¢ is fig. 197, pl. CVII, of Herbert Maryon's A4lodG" |
| Sc#/Pfz¢7.c (I.ondon,1933), in which a bronze of the first type | | Sc#/Pfz¢7.c (I.ondon,1933), in which a bronze of the first type |
| is captioned as being in the Tate Gallery. On the whole the | | is captioned as being in the Tate Gallery. On the whole the |
| first type-with the ring-seems to have been the most | | first type-with the ring-seems to have been the most |
| popular and scvcral casts of it are known: one, formerly | | popular and scvcral casts of it are known: one, formerly |
| belonging to Sir George Frampton, was with the Armstrong- | | belonging to Sir George Frampton, was with the Armstrong- |
| Davis Gallery in Arundel, Sussex, in 1985 (when illustrated | | Davis Gallery in Arundel, Sussex, in 1985 (when illustrated |
| in an adrcrtisemer[t in the National Art-Collections Fund | | in an adrcrtisemer[t in the National Art-Collections Fund |
| Rcp¢.ew), one was sold at Sotheby's, I.ondon, 12 April 1985 | | Rcp¢.ew), one was sold at Sotheby's, I.ondon, 12 April 1985 |
| (lot 257), one remains in the Bayes family collection, and | | (lot 257), one remains in the Bayes family collection, and |
| another is in the Walker Art Gallery, Liverpool. Something | | another is in the Walker Art Gallery, Liverpool. Something |
| of the reputation which the sculpture enjoyed for its complex | | of the reputation which the sculpture enjoyed for its complex |
| dynamism (which provides a link between the New Sculpture | | dynamism (which provides a link between the New Sculpture |
| and the angular realism of H. S. Jagger) is conveyed by | | and the angular realism of H. S. Jagger) is conveyed by |
| Maryon's praise: `probably no other equestrian group extant | | Maryon's praise: `probably no other equestrian group extant |
| . . . would better repay a prolonged study of its composition'. | | . . . would better repay a prolonged study of its composition'. |
| 7 | | 7 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Wuan BEHNES ( 1795-1864) | | Wuan BEHNES ( 1795-1864) |
| n | | n | @@PROCESS |
| 448. Portrait bust of Samuel | | 448. Portrait bust of Samuel |
| Woodbum | | Woodbum |
| 67.8 cms. (height); 12.9 cms. (height of soclc); 123.2 cms. (height | | 67.8 cms. (height); 12.9 cms. (height of soclc); 123.2 cms. (height |
| of pedestal) | | of pedestal) |
| Carrara marble. Bust is chisellcd behind on the supporting shaft (as | | Carrara marble. Bust is chisellcd behind on the supporting shaft (as |
| li:;utalo¥t:r:::n=S!:;:stBeEdH::e/alsscou:;cro=D::i::e:2i.h:tfcie | | li:;utalo¥t:r:::n=S!:;:stBeEdH::e/alsscou:;cro=D::i::e:2i.h:tfcie |
| is set on a Camra marble columnar pcdcstal made in three pieces: | | is set on a Camra marble columnar pcdcstal made in three pieces: |
| base, principal shaft, and top recessed section of shaft. The pedestal | | base, principal shaft, and top recessed section of shaft. The pedestal |
| is chiseued with dlded letters: `SAMUEL WooDBURN / 1786- | | is chiseued with dlded letters: `SAMUEL WooDBURN / 1786- |
| 1853 / THROUGH WIIOSE PUBLIC SPIRIT / THE LAWRENCE | | 1853 / THROUGH WIIOSE PUBLIC SPIRIT / THE LAWRENCE |
| COLLECTION / OF DRAWINGS BY / RAPHAEL AND | | COLLECTION / OF DRAWINGS BY / RAPHAEL AND |
| MICHEIANGELO / WAS SECURED FOR / THE UNIVERSITY / 1845'. | | MICHEIANGELO / WAS SECURED FOR / THE UNIVERSITY / 1845'. |
| This must bc the bust, or a version of the bust, exhibited by Behnes | | This must bc the bust, or a version of the bust, exhibited by Behnes |
| at the Royal Academy in 1833 (no.1201, `Marble bust, Sanucl | | at the Royal Academy in 1833 (no.1201, `Marble bust, Sanucl |
| Woodbum, Esq. '). It was presumably commissioned by Woodbum, | | Woodbum, Esq. '). It was presumably commissioned by Woodbum, |
| and was inherited after his death in 1853 by his sister by whom it | | and was inherited after his death in 1853 by his sister by whom it |
| was bequeathed to the University in 1865. Recorded in the | | was bequeathed to the University in 1865. Recorded in the |
| Donations Book on p. 54 a.s bequeathed by the sitter's `brother | | Donations Book on p. 54 a.s bequeathed by the sitter's `brother |
| Miss Woodhouse'. More correctly recorded in the H¢„dfroofe G#¢.de | | Miss Woodhouse'. More correctly recorded in the H¢„dfroofe G#¢.de |
| of 1865 as in `the Fireproof Gallery containing the Raphacls and | | of 1865 as in `the Fireproof Gallery containing the Raphacls and |
| Michclangelos . . . bequeathed by his sister Miss Woodbumc'. C. F. | | Michclangelos . . . bequeathed by his sister Miss Woodbumc'. C. F. |
| Bell recorded in his first report as Keeper of the newly formed | | Bell recorded in his first report as Keeper of the newly formed |
| Department of Fine Art in 1908 that he had set up, in niches at the | | Department of Fine Art in 1908 that he had set up, in niches at the |
| top of the principal staircase, Guelfi's busts of the Pomfiets (scc | | top of the principal staircase, Guelfi's busts of the Pomfiets (scc |
| Nos. 516, 517), and, in the same spirit of institutional piety, `an | | Nos. 516, 517), and, in the same spirit of institutional piety, `an |
| appropriate inscription was cut upon the base of Samuel Woodbum | | appropriate inscription was cut upon the base of Samuel Woodbum |
| by W. Behncs, which has been placed in another of the niches'- | | by W. Behncs, which has been placed in another of the niches'- |
| prcsunably the central one subsequently occupied by the /#¢¢.*¢ | | prcsunably the central one subsequently occupied by the /#¢¢.*¢ |
| (No. 473) and now by the E¢#/ a/Ar#"de/ (No. 472). The bust was | | (No. 473) and now by the E¢#/ a/Ar#"de/ (No. 472). The bust was |
| cleaned by REthleen Kimber and C. P. Bartram of the Department | | cleaned by REthleen Kimber and C. P. Bartram of the Department |
| of Antiquities in the 1970s. | | of Antiquities in the 1970s. |
| A ful account of woodburn's part in the acquisition of the | | A ful account of woodburn's part in the acquisition of the |
| drawings by Raphael and Michelangelo, formerly in the | | drawings by Raphael and Michelangelo, formerly in the |
| collection of sir Thomas Lawrence, is given in Sir Karl Parker's | | collection of sir Thomas Lawrence, is given in Sir Karl Parker's |
| introduction to his catalogue of the Ashmolean's Italian | | introduction to his catalogue of the Ashmolean's Italian |
| drawings. Woodbun bought the great collection of drawings | | drawings. Woodbun bought the great collection of drawings |
| (which he had himself helped Lawrence to fom) after | | (which he had himself helped Lawrence to fom) after |
| Lawrence's executors falcd to dispose of them as I.awrence | | Lawrence's executors falcd to dispose of them as I.awrence |
| had hoped. Then, in accordance with I.awrence's wishes, but | | had hoped. Then, in accordance with I.awrence's wishes, but |
| with a patience Lawrence could not have anticipated, | | with a patience Lawrence could not have anticipated, |
| Woodburn delayed selling them in case they could bc placed, | | Woodburn delayed selling them in case they could bc placed, |
| as the group by Raphael and Michelangelo eventually were, | | as the group by Raphael and Michelangelo eventually were, |
| in a public institution. | | in a public institution. |
| In 1832 Behnes was at the height of his powers, but already | | In 1832 Behnes was at the height of his powers, but already |
| encountering some financial difficulties. Bankrupt in 1861, | | encountering some financial difficulties. Bankrupt in 1861, |
| he died, a pauper in the Middlesex Hospital, three years later, | | he died, a pauper in the Middlesex Hospital, three years later, |
| a year before this bust was presented. | | a year before this bust was presented. |
| 10 | | 10 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Sir Joseph Edgar BOEHM (Joscf 86hm) ( 1834L90) | | Sir Joseph Edgar BOEHM (Joscf 86hm) ( 1834L90) |
| n | | n | @@PROCESS |
| 449. Portrait bust of John Ruskin | | 449. Portrait bust of John Ruskin |
| 59.5 cms. (height) | | 59.5 cms. (height) |
| Terracotta, hollow slip-cast as one piccc (including waisted square | | Terracotta, hollow slip-cast as one piccc (including waisted square |
| soclc). The interior is a hot orange colour, the exterior toned with | | soclc). The interior is a hot orange colour, the exterior toned with |
| a paler clay slip applied in very liquid form (granules are caught in | | a paler clay slip applied in very liquid form (granules are caught in |
| whiskers and hairs on proper left side of face). Incised `BOEHM fecit', | | whiskers and hairs on proper left side of face). Incised `BOEHM fecit', |
| the `fecit' partially illcdble. The indistinct lettering, like the bluntness | | the `fecit' partially illcdble. The indistinct lettering, like the bluntness |
| of details such as buttonholes, suggests that there was little hand-finishing | | of details such as buttonholes, suggests that there was little hand-finishing |
| after casting. The shirt-collar to proper left has bccn | | after casting. The shirt-collar to proper left has bccn |
| chipped. | | chipped. |
| Presented by T. W. G. Acland in 1932, in accordance with the wishes | | Presented by T. W. G. Acland in 1932, in accordance with the wishes |
| of his father, Dr Thcodore Dyke Acland, who had died in April | | of his father, Dr Thcodore Dyke Acland, who had died in April |
| 1932. Dr Acland had presumably inherited it from his father, | | 1932. Dr Acland had presumably inherited it from his father, |
| Ruskin's ffiend Sir Henry Wentworth Acland Bt. (see No. 549). | | Ruskin's ffiend Sir Henry Wentworth Acland Bt. (see No. 549). |
| T. W. G. Acland wrote to the Director of the Taylor Institution | | T. W. G. Acland wrote to the Director of the Taylor Institution |
| offering the bust on 17 February 1932, and then sent a copy on 20 | | offering the bust on 17 February 1932, and then sent a copy on 20 |
| April, having had no reply. The Secretary of the Taylorian called on | | April, having had no reply. The Secretary of the Taylorian called on |
| the Kccper of the Ashmolean (E. T. Lecds) on 22 April. heeds | | the Kccper of the Ashmolean (E. T. Lecds) on 22 April. heeds |
| wrote to Acland explaining that he must have intcndcd the | | wrote to Acland explaining that he must have intcndcd the |
| Ashmolean not the Taylorian and asking him to walt until Mr Clark, | | Ashmolean not the Taylorian and asking him to walt until Mr Clark, |
| Keeper of the Department of Fine Art, returned from abroad. Leeds | | Keeper of the Department of Fine Art, returned from abroad. Leeds |
| then forgot about the matter. Acland wrote again on 6 October. | | then forgot about the matter. Acland wrote again on 6 October. |
| Lecds replied on 10 October saying that Clank would like to know | | Lecds replied on 10 October saying that Clank would like to know |
| more about it. Clearly there was some uncertainty as to the | | more about it. Clearly there was some uncertainty as to the |
| desirabilfty of the gift (the marble version being already in the | | desirabilfty of the gift (the marble version being already in the |
| Museum). However, on 23 October Grace Muirhead, who had | | Museum). However, on 23 October Grace Muirhead, who had |
| bccn housing the bust, wrote that she would deliver it to the | | bccn housing the bust, wrote that she would deliver it to the |
| Museum on the following day and would collect it later if it were | | Museum on the following day and would collect it later if it were |
| not wanted. It was never collected. | | not wanted. It was never collected. |
| The plaster version of Boehm's statue of Ruskin's hero Carlyle, | | The plaster version of Boehm's statue of Ruskin's hero Carlyle, |
| which was exhibited at the Royal Academy in 1875, was | | which was exhibited at the Royal Academy in 1875, was |
| praised by Ruskin in high terms in his Ac¢dc7„y Nofcf for that | | praised by Ruskin in high terms in his Ac¢dc7„y Nofcf for that |
| year ( Wo#fa, 39 vols., Library Edition (London, 1903-12), | | year ( Wo#fa, 39 vols., Library Edition (London, 1903-12), |
| xiv. 288-9) as `a noble piece of portraiture' recording both | | xiv. 288-9) as `a noble piece of portraiture' recording both |
| `mind and features' of `my dear master'. Ruskin approved of | | `mind and features' of `my dear master'. Ruskin approved of |
| Boehm's style as an alternative to the `Hellenic academy | | Boehm's style as an alternative to the `Hellenic academy |
| sculpture'. He was taken by Carlyle to Boehm's studio where | | sculpture'. He was taken by Carlyle to Boehm's studio where |
| the sculptor delighted him-`f#c¢ a duck-the very ideal of | | the sculptor delighted him-`f#c¢ a duck-the very ideal of |
| noblest intense Germanism', he wrote to Mrs Severn on 26 | | noblest intense Germanism', he wrote to Mrs Severn on 26 |
| June; `a jewel, not a Jew. A perfect type of intense blue-eyed | | June; `a jewel, not a Jew. A perfect type of intense blue-eyed |
| Harz-bred Germany', hc wrote to Charles Eliot Norton on | | Harz-bred Germany', hc wrote to Charles Eliot Norton on |
| 15 July (ibid. xxxvii. 169). Although born in Vienna, Boehm | | 15 July (ibid. xxxvii. 169). Although born in Vienna, Boehm |
| was in fact of Hungarian extraction. Ruskin hoped Boehm | | was in fact of Hungarian extraction. Ruskin hoped Boehm |
| would ask to `do' him, but the first mention of a sitting comes | | would ask to `do' him, but the first mention of a sitting comes |
| in a letter, probably of November 1879, to his friend Dr Henry | | in a letter, probably of November 1879, to his friend Dr Henry |
| Acland (later Sir Henry): `For the bust I shall only be too | | Acland (later Sir Henry): `For the bust I shall only be too |
| trad to sit to Boehm anywhere and any time hc likes, and | | trad to sit to Boehm anywhere and any time hc likes, and |
| will stay in town as long as necessary.' On 1 December that | | will stay in town as long as necessary.' On 1 December that |
| year he informed Miss Sara Anderson that he was going `over | | year he informed Miss Sara Anderson that he was going `over |
| to Kensington every day to Boehm for clay yet more "like" | | to Kensington every day to Boehm for clay yet more "like" |
| than Herkhomer'. Alfred Gilbert, then acting as Bochm's | | than Herkhomer'. Alfred Gilbert, then acting as Bochm's |
| assistant, recaued (or claimed to recall) the comedy of trying | | assistant, recaued (or claimed to recall) the comedy of trying |
| to conceal busts of Millais from Ruskin and busts of Ruskin | | to conceal busts of Millais from Ruskin and busts of Ruskin |
| from Millais (I. MCAllister, A//rc¢ GG./4G# (I.ondon, 1929), | | from Millais (I. MCAllister, A//rc¢ GG./4G# (I.ondon, 1929), |
| 34-5). When asked by Marion Harry Spielmann for | | 34-5). When asked by Marion Harry Spielmann for |
| recollections of the sittings, Boehm would reveal nothing but | | recollections of the sittings, Boehm would reveal nothing but |
| did claim that he `never saw any face on which the character | | did claim that he `never saw any face on which the character |
| and the inside of the man was so clearly written. He can never | | and the inside of the man was so clearly written. He can never |
| have tried to dissimulate' (`Some Portraits of John Ruskin', | | have tried to dissimulate' (`Some Portraits of John Ruskin', |
| A4¢g#2;¢.„c a/A# ( 1891 ),122). Ruskin himself was a little | | A4¢g#2;¢.„c a/A# ( 1891 ),122). Ruskin himself was a little |
| uneasy about the bust, describing it as of `extreme and, more | | uneasy about the bust, describing it as of `extreme and, more |
| than I quite like, historical veracity' ( 777G Br¢7¢n.7ood DG.¢7rfef | | than I quite like, historical veracity' ( 777G Br¢7¢n.7ood DG.¢7rfef |
| a/7o4» A"jfe¢.79, ed. H. G. Viljoen (New Haven, ConTri.,1971 ), | | a/7o4» A"jfe¢.79, ed. H. G. Viljoen (New Haven, ConTri.,1971 ), |
| n | | n | @@PROCESS |
| 535). | | 535). |
| The bust was first exhibited in terracotta at the Royal | | The bust was first exhibited in terracotta at the Royal |
| Academy exhibition in 1880 (no.1635) and it has been | | Academy exhibition in 1880 (no.1635) and it has been |
| assumed that this is the version now in the Ashmolcan | | assumed that this is the version now in the Ashmolcan |
| M:usoum (M. Stockel. Royalist and Realist: The itfie a,nd | | M:usoum (M. Stockel. Royalist and Realist: The itfie a,nd |
| Work Of Sir Joseph Edyar Boehm (INow Yock and I+ondon, | | Work Of Sir Joseph Edyar Boehm (INow Yock and I+ondon, |
| 1988), 411). A flyshcct was published in Oxford on 27 May | | 1988), 411). A flyshcct was published in Oxford on 27 May |
| 1880 drawing attention to a full-length sketch in clay, also to | | 1880 drawing attention to a full-length sketch in clay, also to |
| bust portraits one of which was on view at the Royal Academy | | bust portraits one of which was on view at the Royal Academy |
| (as mentioned above), the other on view in the Turner Room | | (as mentioned above), the other on view in the Turner Room |
| at the University Galleries. `Friends have cxpresscd a desire | | at the University Galleries. `Friends have cxpresscd a desire |
| that a statue of the author of A4lo¢e77¢ P#¢.7¢£g7tf should bc | | that a statue of the author of A4lo¢e77¢ P#¢.7¢£g7tf should bc |
| placed in the School of Drawing, Oxford, which owes its | | placed in the School of Drawing, Oxford, which owes its |
| existence to his generosity and bears his name.' An appeal for | | existence to his generosity and bears his name.' An appeal for |
| subscriptions had been pubhshed in 777c T¢.owcf on the day | | subscriptions had been pubhshed in 777c T¢.owcf on the day |
| before, with Prince Leopold and the marquess of salisbury | | before, with Prince Leopold and the marquess of salisbury |
| among the conimittcc members. The scheme, engivecred by | | among the conimittcc members. The scheme, engivecred by |
| Acland, did not cnd in triumph. `Ultimately a marble bust | | Acland, did not cnd in triumph. `Ultimately a marble bust |
| was placed in the Ruskin Drawing School', Ruskin's editors | | was placed in the Ruskin Drawing School', Ruskin's editors |
| observe. | | observe. |
| The marble bust survives in the present premises of the | | The marble bust survives in the present premises of the |
| Ruskin School in the High Street. It is notably more precise | | Ruskin School in the High Street. It is notably more precise |
| in detail than the terracotta version in the Ashmolean, showing | | in detail than the terracotta version in the Ashmolean, showing |
| for example the buttonholes of the lapel more clearly and | | for example the buttonholes of the lapel more clearly and |
| even the rclicf stitching around them. It is also larger in size, | | even the rclicf stitching around them. It is also larger in size, |
| being 64 cms. high, on a soclc with a plinth 19 cms. square. | | being 64 cms. high, on a soclc with a plinth 19 cms. square. |
| This proves that the Ashmolean's terracotta is not the origival | | This proves that the Ashmolean's terracotta is not the origival |
| clay model (if that survived) but was made from the plaster | | clay model (if that survived) but was made from the plaster |
| cast of that origival clay, which would also have served as the | | cast of that origival clay, which would also have served as the |
| prototype for the marble-whereas the marble would have | | prototype for the marble-whereas the marble would have |
| turned out the same size as that plaster cast, the terracotta | | turned out the same size as that plaster cast, the terracotta |
| cast would have shrunk in firing. At least two terracottas were | | cast would have shrunk in firing. At least two terracottas were |
| made: two are recorded today, that in the Ashmolean Museum | | made: two are recorded today, that in the Ashmolean Museum |
| and one in a private collection in Ijondon. There may well | | and one in a private collection in Ijondon. There may well |
| be others. A bronze cast is said to be in the Geelong Art | | be others. A bronze cast is said to be in the Geelong Art |
| Gallery, Victoria, Australia, a plaster cast is in the National | | Gallery, Victoria, Australia, a plaster cast is in the National |
| Portrait Gallery, I.ondon (Stockcr, op. cit. 411 ), and another | | Portrait Gallery, I.ondon (Stockcr, op. cit. 411 ), and another |
| is in the Ruskin Gallery, Sheffield. Such plaster casts could | | is in the Ruskin Gallery, Sheffield. Such plaster casts could |
| bc made from the moulds used for the terracotta edition, but | | bc made from the moulds used for the terracotta edition, but |
| only after the latter had been completed, since the greasy | | only after the latter had been completed, since the greasy |
| parting agent placed in the interior of the assembled mould | | parting agent placed in the interior of the assembled mould |
| for casting plasters rcndcrcd it unfit for the clay, which needed | | for casting plasters rcndcrcd it unfit for the clay, which needed |
| to be dried by contact with untreated plaster (a process | | to be dried by contact with untreated plaster (a process |
| explained by Boehm in a letter of 31 December 1878 to | | explained by Boehm in a letter of 31 December 1878 to |
| Thomas Dixon quoted by Stocker, op. cit. 232). If, as would | | Thomas Dixon quoted by Stocker, op. cit. 232). If, as would |
| seem likely, the bust in the Ruskin School of Drawing is the | | seem likely, the bust in the Ruskin School of Drawing is the |
| only version in marble, then it was the one exhibited by | | only version in marble, then it was the one exhibited by |
| Bochm at the Grosvenor Gallery in 1881. There seems to bc | | Bochm at the Grosvenor Gallery in 1881. There seems to bc |
| 11 | | 11 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| no evidence that it was executed previous to the subscription | | no evidence that it was executed previous to the subscription |
| in 1880. The clay sketch for a full-length statue has not been | | in 1880. The clay sketch for a full-length statue has not been |
| traced. | | traced. |
| Ruskin continued to be impressed by Boehm's work and | | Ruskin continued to be impressed by Boehm's work and |
| gave him a commission for `twelve flat medallions, Florentine | | gave him a commission for `twelve flat medallions, Florentine |
| manner, life size, of six British men ind six British women, of | | manner, life size, of six British men ind six British women, of |
| typical character in beauty; all to be looking straight forward | | typical character in beauty; all to be looking straight forward |
| in pure profile, and to have their hair treated with the Grcck | | in pure profile, and to have their hair treated with the Grcck |
| furrow' (letter to Charles Eliot Norton of 25 February 1884, | | furrow' (letter to Charles Eliot Norton of 25 February 1884, |
| Library Edition of Wo7ilef, xxxvii. 475). Nothing, however, | | Library Edition of Wo7ilef, xxxvii. 475). Nothing, however, |
| seems to have come of this, Boehm being frantically | | seems to have come of this, Boehm being frantically |
| overworked and Ruskin of uncertain mental health. | | overworked and Ruskin of uncertain mental health. |
| Bochm's bronze portrait of Acland, dated 1887, is in the | | Bochm's bronze portrait of Acland, dated 1887, is in the |
| University Museum. | | University Museum. |
| 12 | | 12 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Domenico Brucciani and Company, I.ondon | | Domenico Brucciani and Company, I.ondon |
| After Sir Joseph Edgar BOEHM (Josef 86hm) ( 1834-90) | | After Sir Joseph Edgar BOEHM (Josef 86hm) ( 1834-90) |
| n | | n | @@PROCESS |
| 450. Thoroughbred gelding | | 450. Thoroughbred gelding |
| 39 cms. (height including wire armature of ear); | | 39 cms. (height including wire armature of ear); |
| 32.8 cms. (length of base); 11.3 cms. (width of base) | | 32.8 cms. (length of base); 11.3 cms. (width of base) |
| Plaster. Solid cast. Seams from piece-mould unremoved. The tail | | Plaster. Solid cast. Seams from piece-mould unremoved. The tail |
| partially broken, the ears broken off to expose wire armature, the | | partially broken, the ears broken off to expose wire armature, the |
| fore legs chipped, the near one badly, exposing thicker wire armture. | | fore legs chipped, the near one badly, exposing thicker wire armture. |
| Scratched on the base of the plaster with bold angular capital letters: | | Scratched on the base of the plaster with bold angular capital letters: |
| `D BRuCCIANI 8c Co LONDON 276.' Plaster now very dirty. | | `D BRuCCIANI 8c Co LONDON 276.' Plaster now very dirty. |
| Transferred from the basement store of the Department of | | Transferred from the basement store of the Department of |
| Antiquities in 1986. Possibly residue of the teaching collection of | | Antiquities in 1986. Possibly residue of the teaching collection of |
| the Ruskin School of Drawing. | | the Ruskin School of Drawing. |
| The firm of Brucciani were the leading suppliers of plaster | | The firm of Brucciani were the leading suppliers of plaster |
| casts in Ijondon in the last century (for a sketch of the firm's | | casts in Ijondon in the last century (for a sketch of the firm's |
| history see F. Haskell and N. Penny, L'¢7¢f¢.co „e//¢ f}o".a de/ | | history see F. Haskell and N. Penny, L'¢7¢f¢.co „e//¢ f}o".a de/ |
| gusto (T\iri]n. \984). L44-5). A Catalogtte Of Sculgture ky D. | | gusto (T\iri]n. \984). L44-5). A Catalogtte Of Sculgture ky D. |
| Brmcciani, 40 Russell St., Covent Garden, `indated but | | Brmcciani, 40 Russell St., Covent Garden, `indated but |
| rectstcred in libraries in 1880, and so certainly published by | | rectstcred in libraries in 1880, and so certainly published by |
| then, includes an introduction drawing attention to a `New | | then, includes an introduction drawing attention to a `New |
| and Unique Collection of Animals by eminent Artists in Paris, | | and Unique Collection of Animals by eminent Artists in Paris, |
| 8cc', including horses by `Monti, Fraton, Macarthy, Lady | | 8cc', including horses by `Monti, Fraton, Macarthy, Lady |
| Dacre, Galnsborough, Mane [f¢.c], Rosa Bonheur' which arc | | Dacre, Galnsborough, Mane [f¢.c], Rosa Bonheur' which arc |
| then hsted on pp. 48-50. The line appears to have been a | | then hsted on pp. 48-50. The line appears to have been a |
| success and, after Boehm's death in 1890, the firm included | | success and, after Boehm's death in 1890, the firm included |
| casts after the highly successful bronze portraits of horses that | | casts after the highly successful bronze portraits of horses that |
| hc had made popular with the English aristocracy. In the | | hc had made popular with the English aristocracy. In the |
| Catalogtte Of Casts fior Schools which the Board of Edttcation | | Catalogtte Of Casts fior Schools which the Board of Edttcation |
| Co„f¢.de7tf S#¢.£4b4/G/or Scfroo/f, undated but issued by the fim | | Co„f¢.de7tf S#¢.£4b4/G/or Scfroo/f, undated but issued by the fim |
| previous to 1906, no. 276 (as also no. 275) was a horse by | | previous to 1906, no. 276 (as also no. 275) was a horse by |
| Boehm costing los. 6d. No. 276 was still on offer in the | | Boehm costing los. 6d. No. 276 was still on offer in the |
| 1914 catalogue. | | 1914 catalogue. |
| Perhaps by the factory in Soho, near Birmingham, of Matthew | | Perhaps by the factory in Soho, near Birmingham, of Matthew |
| BOULTON ( 1728-1809) | | BOULTON ( 1728-1809) |
| n | | n | @@PROCESS |
| 451 and 452. Pair of obelisks | | 451 and 452. Pair of obelisks |
| 42.85 cms. (height); 8.85 cms. (length and width of plinths) | | 42.85 cms. (height); 8.85 cms. (length and width of plinths) |
| The obelisks are composed of pieces of Derbyshire fluorspar (blue-john)- | | The obelisks are composed of pieces of Derbyshire fluorspar (blue-john)- |
| the pedestals consisting of separate blocks, the tapering | | the pedestals consisting of separate blocks, the tapering |
| obelisks themselves of three pieces. The plinth, the leaf-moulding | | obelisks themselves of three pieces. The plinth, the leaf-moulding |
| above it, the platform above the pedestal, the corner ornaments of | | above it, the platform above the pedestal, the corner ornaments of |
| acanthus, the two bands of guilloche ornament concealing the joins | | acanthus, the two bands of guilloche ornament concealing the joins |
| in the obelisks, the capping, and the cone finial are in each case | | in the obelisks, the capping, and the cone finial are in each case |
| composed of a separate clement of bronze, fire-gilded. The elements | | composed of a separate clement of bronze, fire-gilded. The elements |
| have been reassembled in this century in a manner that makes | | have been reassembled in this century in a manner that makes |
| examination impossible. `Bouch Bequest 1963' is painted in black | | examination impossible. `Bouch Bequest 1963' is painted in black |
| on the underside of each plinth. | | on the underside of each plinth. |
| Bequeathed by Major T. Bouch, 1963. Received by the Museum | | Bequeathed by Major T. Bouch, 1963. Received by the Museum |
| on 20 November 1963. For more on the bequest see No. 469. Lent | | on 20 November 1963. For more on the bequest see No. 469. Lent |
| to the City Art Museum, Derby, on 27 May 1981. | | to the City Art Museum, Derby, on 27 May 1981. |
| Neither the workmanship nor the design of these obelisks is | | Neither the workmanship nor the design of these obelisks is |
| of very high quality, but it is comparable with the more | | of very high quality, but it is comparable with the more |
| routine productions of Matthew Boulton's Soho factory (for | | routine productions of Matthew Boulton's Soho factory (for |
| which see No. 608). The separate pieces of fluorspar appear | | which see No. 608). The separate pieces of fluorspar appear |
| to have come from the same block for the same bands of dark | | to have come from the same block for the same bands of dark |
| mauve are in both cases continued through the different | | mauve are in both cases continued through the different |
| pieces. There is no mention in the Boulton archives of the | | pieces. There is no mention in the Boulton archives of the |
| production of obelisks at Soho but some are mentioned in | | production of obelisks at Soho but some are mentioned in |
| carly sales and there are drawings in the pattern book; the | | carly sales and there are drawings in the pattern book; the |
| latter do not correspond to these but Sir Nicholas Goodison | | latter do not correspond to these but Sir Nicholas Goodison |
| regards the components as very close to Boulton's work and | | regards the components as very close to Boulton's work and |
| `would be inclined to think that the obelisks came from his | | `would be inclined to think that the obelisks came from his |
| factory' (letter of 19 June 1989). | | factory' (letter of 19 June 1989). |
| 13 | | 13 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably Gcorgc BULLOCK ( 1782/3-1818) | | Probably Gcorgc BULLOCK ( 1782/3-1818) |
| After Gcrard Janscn and another | | After Gcrard Janscn and another |
| n | | n | @@PROCESS |
| 453 and 454. Masks of shakespeare | | 453 and 454. Masks of shakespeare |
| and an unbearded male, probably | | and an unbearded male, probably |
| Wri||iam Wordsworth | | Wri||iam Wordsworth |
| 28.5 cms. (height of mask of shakespeare); 38.5 cms. (height of | | 28.5 cms. (height of mask of shakespeare); 38.5 cms. (height of |
| support for Shakespeare); 30.7 cms. (width of support for | | support for Shakespeare); 30.7 cms. (width of support for |
| Shakespeare); 27.8 cms. (height of ?Wordsworth); 38.2 cms. | | Shakespeare); 27.8 cms. (height of ?Wordsworth); 38.2 cms. |
| (height of support for .>Wordsworth); 30.5 cms. (width of | | (height of support for .>Wordsworth); 30.5 cms. (width of |
| support for .>Wordsworth) | | support for .>Wordsworth) |
| Plaster of Paris discolourcd from ingrained dirt. There are scratches | | Plaster of Paris discolourcd from ingrained dirt. There are scratches |
| especially to the head of wordsworth (No. 454). The heads have | | especially to the head of wordsworth (No. 454). The heads have |
| bccn cast separately and stuck to the supports. There is an old break | | bccn cast separately and stuck to the supports. There is an old break |
| across the support for the Shakespeare mended with cement and a | | across the support for the Shakespeare mended with cement and a |
| more recent break across the proper right top comer of the | | more recent break across the proper right top comer of the |
| companion bust which has been mended with glue. Wire rings are | | companion bust which has been mended with glue. Wire rings are |
| attached to the backs of both supports. | | attached to the backs of both supports. |
| Provenance unrecorded but thcsc are perhaps the `plaster portrait | | Provenance unrecorded but thcsc are perhaps the `plaster portrait |
| reliefs of "Comtc Chambord" and "Tasso" ' included in an old | | reliefs of "Comtc Chambord" and "Tasso" ' included in an old |
| typed list mostly of miniatures, headed `Portraits &c' in the `Mcd. | | typed list mostly of miniatures, headed `Portraits &c' in the `Mcd. |
| Room' which was signed by E. T. heeds, Keeper of the Dcpartmcnt | | Room' which was signed by E. T. heeds, Keeper of the Dcpartmcnt |
| of Antiquities, on 12 March 1932. The T¢so was specified as the | | of Antiquities, on 12 March 1932. The T¢so was specified as the |
| Sft of Mrs Stonehouse in 1915. It is more probably connected with | | Sft of Mrs Stonehouse in 1915. It is more probably connected with |
| `A plaster mask of the poet Wordsworth, taken from the life in 1815. | | `A plaster mask of the poet Wordsworth, taken from the life in 1815. |
| Presented by Miss [ Elizabeth ] Wordsworth' ( RGPo77 a/ £¢c 4cGPGr a/ | | Presented by Miss [ Elizabeth ] Wordsworth' ( RGPo77 a/ £¢c 4cGPGr a/ |
| the Picture Galleries (+905). 8\). | | the Picture Galleries (+905). 8\). |
| The cabinet maker and sculptor George Bullock was | | The cabinet maker and sculptor George Bullock was |
| commissioned by the antiquarian John Britton to make a cast | | commissioned by the antiquarian John Britton to make a cast |
| of the half-length effigy of shakespeare by Gcrard ]ansen in | | of the half-length effigy of shakespeare by Gcrard ]ansen in |
| the Church of Holy Trinity, Stratford-upon-Avon, in 1814: | | the Church of Holy Trinity, Stratford-upon-Avon, in 1814: |
| the work was accomplished with some difficulty in Dcccmbcr | | the work was accomplished with some difficulty in Dcccmbcr |
| of that year. A mezzotint by W. Ward ARA after the painting | | of that year. A mezzotint by W. Ward ARA after the painting |
| by Thomas Phillips RA after the cast by Bullock was pubhshcd | | by Thomas Phillips RA after the cast by Bullock was pubhshcd |
| on 23 April 1816 to celebrate the bicentenary of the poct's | | on 23 April 1816 to celebrate the bicentenary of the poct's |
| death. (An impression of this rare print is in the Hope | | death. (An impression of this rare print is in the Hope |
| Collection in the Ashmolcan Museum.) Casts survive in the | | Collection in the Ashmolcan Museum.) Casts survive in the |
| Walker Art Gallery, Liverpool, in the Soane Museum, and at | | Walker Art Gallery, Liverpool, in the Soane Museum, and at |
| Abbotsford. A cast in Shakespeare's Birthplace, Stratford-upon- | | Abbotsford. A cast in Shakespeare's Birthplace, Stratford-upon- |
| Avon, is of the head and shoulders only. (For these see | | Avon, is of the head and shoulders only. (For these see |
| Chive wdrr[wrigivl (ed.), George Bttlloch, Cabinet Maker | | Chive wdrr[wrigivl (ed.), George Bttlloch, Cabinet Maker |
| (Ijondon,1988), mos.15, 67, 68, pp. 77-8,141-2.) This cast | | (Ijondon,1988), mos.15, 67, 68, pp. 77-8,141-2.) This cast |
| of the front of the head of shakespeare appears to be made | | of the front of the head of shakespeare appears to be made |
| from the sane mould: it is particularly close to that at | | from the sane mould: it is particularly close to that at |
| Abbotsford although even more dull in its surface. There is | | Abbotsford although even more dull in its surface. There is |
| another such mask in the National Portrait Gallery, I.ondon | | another such mask in the National Portrait Gallery, I.ondon |
| (in reserve, 185 A), framed and with the support painted | | (in reserve, 185 A), framed and with the support painted |
| black. It was presented by Albcrt Way FSA (d.1874). The | | black. It was presented by Albcrt Way FSA (d.1874). The |
| identity of the other portrait has not been established for | | identity of the other portrait has not been established for |
| certain. It is likely to bc another eminent poet and bears a | | certain. It is likely to bc another eminent poet and bears a |
| very slight resemblance to Milton (Spenccr might be | | very slight resemblance to Milton (Spenccr might be |
| suspected but he is always depicted with a beard). The best | | suspected but he is always depicted with a beard). The best |
| candidate is Wordsworth. It is known that a mask of | | candidate is Wordsworth. It is known that a mask of |
| Wordsworth supposedly taken from life in 1815 was presented | | Wordsworth supposedly taken from life in 1815 was presented |
| to the Museum in 1905 (as mentioned above). This might | | to the Museum in 1905 (as mentioned above). This might |
| have been made by Bullock, who is known to have been | | have been made by Bullock, who is known to have been |
| interested in finding modem companions for his Shakcspearc | | interested in finding modem companions for his Shakcspearc |
| and cast the head of Sir Walter Scott for this reason. The high | | and cast the head of Sir Walter Scott for this reason. The high |
| brow, prominent eyebrows, long straight nose, and spare hair | | brow, prominent eyebrows, long straight nose, and spare hair |
| parted near the centre all correspond with the portrait of | | parted near the centre all correspond with the portrait of |
| Wordsworth painted by Boxan. If this is correct then it is | | Wordsworth painted by Boxan. If this is correct then it is |
| curious that the companion mask of Shakespeare is not | | curious that the companion mask of Shakespeare is not |
| mentioned in the Museum's records. | | mentioned in the Museum's records. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Attributed to D. CARDOSI (active mid-ninctecnth century) | | Attributed to D. CARDOSI (active mid-ninctecnth century) |
| After Franz Thaller and Matthias Ranson | | After Franz Thaller and Matthias Ranson |
| n | | n | @@PROCESS |
| 455. Bust portrait of Admiral Lord | | 455. Bust portrait of Admiral Lord |
| Nelson | | Nelson |
| 66.2 cms. (height including integral socle) | | 66.2 cms. (height including integral socle) |
| Plaster of Paris. Hollow cast with very thin walls. The seams of the | | Plaster of Paris. Hollow cast with very thin walls. The seams of the |
| piece-mould are very evident. The thin shell of plaster is perforated | | piece-mould are very evident. The thin shell of plaster is perforated |
| below the proper left epaulette and on the top of the head to proper | | below the proper left epaulette and on the top of the head to proper |
| right. The plaster is discoloured with ingrained din but the face | | right. The plaster is discoloured with ingrained din but the face |
| appears to have been dehibcrately coloured a golden brown, perhaps | | appears to have been dehibcrately coloured a golden brown, perhaps |
| from a light coat of shellac applied only in this area. | | from a light coat of shellac applied only in this area. |
| Provenance unrecorded. | | Provenance unrecorded. |
| Nelson sat to the Austrian sculptor Franz Thaller when he | | Nelson sat to the Austrian sculptor Franz Thaller when he |
| was in Vienna in August and September 1800 at the same | | was in Vienna in August and September 1800 at the same |
| time that hc was being painted by Hcinrich Friedrich Ftiger. | | time that hc was being painted by Hcinrich Friedrich Ftiger. |
| A life cast may also have been supplied to the sculptor. The | | A life cast may also have been supplied to the sculptor. The |
| completed marble bust, which is now in the National Maritime | | completed marble bust, which is now in the National Maritime |
| Museum, is inscribed `Franz Thaller ct Matthias Ranson | | Museum, is inscribed `Franz Thaller ct Matthias Ranson |
| Vicnnac Aust. MDCCCI' and was sent to I.ondon in that | | Vicnnac Aust. MDCCCI' and was sent to I.ondon in that |
| year. It was extensively copied and also served as the model | | year. It was extensively copied and also served as the model |
| for Flaxman's statue on the hero's tomb in St Paul's Cathedral. | | for Flaxman's statue on the hero's tomb in St Paul's Cathedral. |
| A bronzed plaster cast with the seams removed is in the | | A bronzed plaster cast with the seams removed is in the |
| National Portrait Gallery with the name D. Cardosi Scratched | | National Portrait Gallery with the name D. Cardosi Scratched |
| on the balck. (R. Walker. Regeney Portraits, National Portrait | | on the balck. (R. Walker. Regeney Portraits, National Portrait |
| G¢//cry (Ilondon, 1985), i. 362, no. 2668, ii, pl. 2734). | | G¢//cry (Ilondon, 1985), i. 362, no. 2668, ii, pl. 2734). |
| Vestidal seams on this plaster correspond with those which | | Vestidal seams on this plaster correspond with those which |
| arc very evident on the Ashmolean bust. The size is the same, | | arc very evident on the Ashmolean bust. The size is the same, |
| as is the soclc (which is square in the marble). Cardosi is | | as is the soclc (which is square in the marble). Cardosi is |
| likely to have been an Italian /o777¢¢}orG working in I.ondon. | | likely to have been an Italian /o777¢¢}orG working in I.ondon. |
| Hc is not othcrwisc recorded. The thin shell of the cast | | Hc is not othcrwisc recorded. The thin shell of the cast |
| suggests a date in the second half of the ninctcenth century. | | suggests a date in the second half of the ninctcenth century. |
| 15 | | 15 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Sir Francis CHANTREY ( 1781-1841 ) | | Sir Francis CHANTREY ( 1781-1841 ) |
| n | | n | @@PROCESS |
| 456. Sketch model for a statue of | | 456. Sketch model for a statue of |
| Mrs Dorothy Jordan with her | | Mrs Dorothy Jordan with her |
| children | | children |
| 31 cms. (height) | | 31 cms. (height) |
| Terracotta (possibly un fired clay) | | Terracotta (possibly un fired clay) |
| The University Gallery Donations Book records, in February 1863, | | The University Gallery Donations Book records, in February 1863, |
| the bequest of a `Miss Jones' consisting of copies made by her of | | the bequest of a `Miss Jones' consisting of copies made by her of |
| Correggio, a 4¢jj.a-ri/G.ova of Queen Adelalde by Sir Francis Chantrey, | | Correggio, a 4¢jj.a-ri/G.ova of Queen Adelalde by Sir Francis Chantrey, |
| and `a small sketch in clay for the statue of Mrs Jordan and her | | and `a small sketch in clay for the statue of Mrs Jordan and her |
| children'. The group has often been assumed to have been a part of | | children'. The group has often been assumed to have been a part of |
| the Chantrey gift of 1842. Miss Jones may well have been related | | the Chantrey gift of 1842. Miss Jones may well have been related |
| to the sculptor's friend and biographer George Jones whose widow | | to the sculptor's friend and biographer George Jones whose widow |
| presented works to the University Galleries in April 1873. The | | presented works to the University Galleries in April 1873. The |
| sculpture was given an incorrect provenance in the catalogue of the | | sculpture was given an incorrect provenance in the catalogue of the |
| chlkji:riron Sir Francis Cha!mrey 1781-1841: Sculptor of the Great | | chlkji:riron Sir Francis Cha!mrey 1781-1841: Sculptor of the Great |
| (I.ondon, National Portrait Gallery, and Mappin Art Gallery, | | (I.ondon, National Portrait Gallery, and Mappin Art Gallery, |
| Sheffield,1981), no. 28. | | Sheffield,1981), no. 28. |
| Very few sketch models survive by English sculptors of this | | Very few sketch models survive by English sculptors of this |
| period. This resembles, in colour of clay and summary | | period. This resembles, in colour of clay and summary |
| handling, Chantrey's model for the Bishop Hcber monument | | handling, Chantrey's model for the Bishop Hcber monument |
| (Victoria and Albert Museum, A. 29-1933). The completed | | (Victoria and Albert Museum, A. 29-1933). The completed |
| marble, now in Buckingham Palace, represents Mrs Jordan | | marble, now in Buckingham Palace, represents Mrs Jordan |
| with a different hairstyle, more ample drapery, and attributes | | with a different hairstyle, more ample drapery, and attributes |
| of pipes and a mask by her feet to indicate her profession. She | | of pipes and a mask by her feet to indicate her profession. She |
| is also feeding an infant rather than carr)ing a sleeping one. | | is also feeding an infant rather than carr)ing a sleeping one. |
| Mrs Jordan, who had been the mistress of william, duke of | | Mrs Jordan, who had been the mistress of william, duke of |
| Clarence, and had borne him ten children, died in poverty in | | Clarence, and had borne him ten children, died in poverty in |
| Paris in 1816. The commission, the cost of 2,000 guineas, | | Paris in 1816. The commission, the cost of 2,000 guineas, |
| and the proposed location in Westminster Abbey were | | and the proposed location in Westminster Abbey were |
| entered in the sculptor's ledger in 1831. Other sources enable | | entered in the sculptor's ledger in 1831. Other sources enable |
| us to be more exact about the date of the commission of this | | us to be more exact about the date of the commission of this |
| monument and also reveal the uncertainty concerning its | | monument and also reveal the uncertainty concerning its |
| location. | | location. |
| A letter by Maria Edgeworth to her mother of 5 January | | A letter by Maria Edgeworth to her mother of 5 January |
| 1831 states that `the king has just sent for Chantrey and | | 1831 states that `the king has just sent for Chantrey and |
| bespoken a monument for Mrs Jordan-to be put up where | | bespoken a monument for Mrs Jordan-to be put up where |
| she died near Paris!' (M. Edgeworth, Lc#G7:t/yoow E"g/¢„d, | | she died near Paris!' (M. Edgeworth, Lc#G7:t/yoow E"g/¢„d, |
| JBJ3-44, ed. C. Colvin (Oxford,1971), 462). Chantrey | | JBJ3-44, ed. C. Colvin (Oxford,1971), 462). Chantrey |
| rccaued how anxious the king was about the memorial and | | rccaued how anxious the king was about the memorial and |
| how concerned to hear his `opinion what it should be, & | | how concerned to hear his `opinion what it should be, & |
| where it should be placed'|hantrey not being able to help | | where it should be placed'|hantrey not being able to help |
| much with the latter enquiry, the king `then went into a | | much with the latter enquiry, the king `then went into a |
| thousand particularitics of their private life, always ending | | thousand particularitics of their private life, always ending |
| that she had been an cxccuent mother to her children. He | | that she had been an cxccuent mother to her children. He |
| said he knew he had been much blamed for his conduct to | | said he knew he had been much blamed for his conduct to |
| her, but that from the time they parted he had allowed | | her, but that from the time they parted he had allowed |
| 2,000 I a year, which was regularly paid cvcry quarter, | | 2,000 I a year, which was regularly paid cvcry quarter, |
| although often with great difficulty to himself to find the | | although often with great difficulty to himself to find the |
| mane+/' Uounals and Correspondence Of Miss Bell.ry, ed. La:dy | | mane+/' Uounals and Correspondence Of Miss Bell.ry, ed. La:dy |
| Tcresa Lewis (Ijondon,1865), iii. 4634r-ntry for 25 July | | Tcresa Lewis (Ijondon,1865), iii. 4634r-ntry for 25 July |
| 1839, recalling a conversation with the sculptor the previous | | 1839, recalling a conversation with the sculptor the previous |
| evening). The marble group was completed in 1834 and, on | | evening). The marble group was completed in 1834 and, on |
| the king's death, was inherited by the first earl of Munster, | | the king's death, was inherited by the first earl of Munster, |
| Mrs Jordan's eldest surviving son. | | Mrs Jordan's eldest surviving son. |
| 16 | | 16 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| CHELSEA factory | | CHELSEA factory |
| n | | n | @@PROCESS |
| 457. Head of a lauching child | | 457. Head of a lauching child |
| 19 cms. (height); 11.9 cms. (width across opening of neck); | | 19 cms. (height); 11.9 cms. (width across opening of neck); |
| o.8 cms. ( approximate thickness of porcelain wall) | | o.8 cms. ( approximate thickness of porcelain wall) |
| Soft-paste porcelain, glazed and decorated with enamel colours. Pink | | Soft-paste porcelain, glazed and decorated with enamel colours. Pink |
| orange is employed for lips and mouth, and the corners of the eyes, | | orange is employed for lips and mouth, and the corners of the eyes, |
| and also more funtly for the cheeks and elsewhere in the flesh. A | | and also more funtly for the cheeks and elsewhere in the flesh. A |
| lilac grey is employed for the hair (in hatched lines of varied intensity | | lilac grey is employed for the hair (in hatched lines of varied intensity |
| gving the impression of a tortoiseshell pattern), for the upper eyelids | | gving the impression of a tortoiseshell pattern), for the upper eyelids |
| (each indicated with two fine Lines-the lower lids are unmarked), | | (each indicated with two fine Lines-the lower lids are unmarked), |
| the irises, the eyebrows (rendered with fine hatched lines, slanting | | the irises, the eyebrows (rendered with fine hatched lines, slanting |
| from upper right to lower left in both cases) and for the nostrils | | from upper right to lower left in both cases) and for the nostrils |
| (very funtly). The decoration docs not follow the model exactly. | | (very funtly). The decoration docs not follow the model exactly. |
| The hair is indicated on the forehead where there is no relief and | | The hair is indicated on the forehead where there is no relief and |
| the numerous tiny teeth outlined in orange pink bcncath the upper | | the numerous tiny teeth outlined in orange pink bcncath the upper |
| lip arc not incised. There are grey peppery specks most evident in | | lip arc not incised. There are grey peppery specks most evident in |
| the neck and lower part of the cheek to proper left and in the highest | | the neck and lower part of the cheek to proper left and in the highest |
| part of the forehead. The unglazed body of the porcelain is evident | | part of the forehead. The unglazed body of the porcelain is evident |
| on a few points and ridges of the curls. There is also a slightly | | on a few points and ridges of the curls. There is also a slightly |
| granular texture in a few of the curls. The line across the proper | | granular texture in a few of the curls. The line across the proper |
| right side of the face, accentuated by some of the pink orange being | | right side of the face, accentuated by some of the pink orange being |
| gathered on it, appears, from examination of the hollow interior, | | gathered on it, appears, from examination of the hollow interior, |
| to bc a casting seam which has slightly opened in firing. There are | | to bc a casting seam which has slightly opened in firing. There are |
| also small firing cracks in the back of the head. There is an old break | | also small firing cracks in the back of the head. There is an old break |
| across the neck passing up into the hair which falls on the child's | | across the neck passing up into the hair which falls on the child's |
| left shoulder, now accentuated by discoloured adhesive. Mounted | | left shoulder, now accentuated by discoloured adhesive. Mounted |
| on a mahogany stand: the origival soclc is hard to envisage. | | on a mahogany stand: the origival soclc is hard to envisage. |
| Placed on loan by Cyril da Costa Andrade of Morocco House, | | Placed on loan by Cyril da Costa Andrade of Morocco House, |
| Bayards Cove, near Dartmouth, Devon in 1957. Given by him in | | Bayards Cove, near Dartmouth, Devon in 1957. Given by him in |
| 1965 in honour of sir Winston Churchill. Registered on 25 January. | | 1965 in honour of sir Winston Churchill. Registered on 25 January. |
| From the collection of C. T. Fowler who is said to have discovered | | From the collection of C. T. Fowler who is said to have discovered |
| it shortly before August 1938 (when it was published in the | | it shortly before August 1938 (when it was published in the |
| Co~„oS.jfe#?-see below) `on top of an old coal bell with | | Co~„oS.jfe#?-see below) `on top of an old coal bell with |
| heterogeneous objects in a I.ondon shop'. For other gifts to the | | heterogeneous objects in a I.ondon shop'. For other gifts to the |
| Museum from Cyril Andradc scc Nos. 487, 570, 5934. The head | | Museum from Cyril Andradc scc Nos. 487, 570, 5934. The head |
| seems always to have been displayed by itself in a glass case on a side | | seems always to have been displayed by itself in a glass case on a side |
| table in the company of British eighteenth-century paintings in the | | table in the company of British eighteenth-century paintings in the |
| Chambers Hall Gallery. | | Chambers Hall Gallery. |
| This radiant and vivacious head, known in no other ceramic | | This radiant and vivacious head, known in no other ceramic |
| example, is the most celebrated piece of porcelain in the | | example, is the most celebrated piece of porcelain in the |
| Ashmolean Museum. It has always been regarded as an early | | Ashmolean Museum. It has always been regarded as an early |
| product of the Chelsea factory: the distinctive colouring and | | product of the Chelsea factory: the distinctive colouring and |
| handling of the decoration are characteristic of the factory in | | handling of the decoration are characteristic of the factory in |
| its early years (see for instance the orange lips and outlined | | its early years (see for instance the orange lips and outlined |
| tccth of the children with a fish flower holder, or the hatched | | tccth of the children with a fish flower holder, or the hatched |
| rendering of the fur of the rabbit on the tureen, both in the | | rendering of the fur of the rabbit on the tureen, both in the |
| Victoria and Albcrt Museum (c.196-1926 and Schr. I-151a) | | Victoria and Albcrt Museum (c.196-1926 and Schr. I-151a) |
| and the firing problems, evident in the speckling and the | | and the firing problems, evident in the speckling and the |
| sean, are consistent with the experiments which the factory | | sean, are consistent with the experiments which the factory |
| was making around 1750. The head was published, soon | | was making around 1750. The head was published, soon |
| after its discovery, by Dr Bellany Gardner in Co""o¢.ffG#7 | | after its discovery, by Dr Bellany Gardner in Co""o¢.ffG#7 |
| (Aug. 1938: 59ndo-with a colour plate on the cover). Hc | | (Aug. 1938: 59ndo-with a colour plate on the cover). Hc |
| Was not content to identify it as Chelsea, but proposed that | | Was not content to identify it as Chelsea, but proposed that |
| the model was by I.ouis-Francois Roubiliac, the great French | | the model was by I.ouis-Francois Roubiliac, the great French |
| sculptor who settled in I.ondon in the 1730s, and also | | sculptor who settled in I.ondon in the 1730s, and also |
| Considered that `nothing' would be more `natural' than for | | Considered that `nothing' would be more `natural' than for |
| it to be a portrait of Roubiliac's daughter Sophia, or Sophie, | | it to be a portrait of Roubiliac's daughter Sophia, or Sophie, |
| born in August 1744, whose godfather was Roubhiac's | | born in August 1744, whose godfather was Roubhiac's |
| compatriot and fellow Huguenot Nicolas Sprimont, who | | compatriot and fellow Huguenot Nicolas Sprimont, who |
| managed the Chclsea factory. | | managed the Chclsea factory. |
| Roubhiac's givl angel in the monument to the duchess of | | Roubhiac's givl angel in the monument to the duchess of |
| Montagu is distinguished by a top knot in her hair: curls were | | Montagu is distinguished by a top knot in her hair: curls were |
| not then enough to suggest femininity and there is no reason | | not then enough to suggest femininity and there is no reason |
| to suppose that this head is female. It would also bc surprising | | to suppose that this head is female. It would also bc surprising |
| if it wcrc a portrait. And it is not certain that it is a child, | | if it wcrc a portrait. And it is not certain that it is a child, |
| Nevertheless Gardner's theory that it is a portrait of sophie | | Nevertheless Gardner's theory that it is a portrait of sophie |
| won the support of Mrs Esdaile, then the leading expert on | | won the support of Mrs Esdaile, then the leading expert on |
| Roubiliac, and Andrade, the donor, was very strongiv | | Roubiliac, and Andrade, the donor, was very strongiv |
| attached to it (the Museum discouraged scepticism on the | | attached to it (the Museum discouraged scepticism on the |
| subject for this reason). That there is some association with | | subject for this reason). That there is some association with |
| Roubiliac is not impossible for he was said to have studied | | Roubiliac is not impossible for he was said to have studied |
| with Pcrmoser, whose style the head recalls, and hc is known | | with Pcrmoser, whose style the head recalls, and hc is known |
| to have studied and admired Bernini, from whose inventions | | to have studied and admired Bernini, from whose inventions |
| the head is certainly derived. But there is no proof of Roubiliac | | the head is certainly derived. But there is no proof of Roubiliac |
| working for the Chelsca factory and no close relationship | | working for the Chelsca factory and no close relationship |
| between this head and any of his sculptures. | | between this head and any of his sculptures. |
| It would seem to rcprcsent a novel departure in porcelain. | | It would seem to rcprcsent a novel departure in porcelain. |
| Other children's heads of a similar size were made by | | Other children's heads of a similar size were made by |
| European factories, but, it seems, only at a slightly later date: | | European factories, but, it seems, only at a slightly later date: |
| J. J. Kindler's animated and idcalizcd busts of Prince Ijouis | | J. J. Kindler's animated and idcalizcd busts of Prince Ijouis |
| Charles de Bourbon and his sister Princess Marie Zephirine | | Charles de Bourbon and his sister Princess Marie Zephirine |
| seem to have been modeued for the Meisscn factory in about | | seem to have been modeued for the Meisscn factory in about |
| 1753 and the pair of children's heads modelled by Franz | | 1753 and the pair of children's heads modelled by Franz |
| Anton Bustehi at Nymphenburg date from 1760-1-their | | Anton Bustehi at Nymphenburg date from 1760-1-their |
| soclcs, incidentally, help us to envisage what was perhaps | | soclcs, incidentally, help us to envisage what was perhaps |
| intended for this bust. A HG¢d a/a Bay after a model by | | intended for this bust. A HG¢d a/a Bay after a model by |
| Duqucsnoy made by the Chelsca factory in the same period | | Duqucsnoy made by the Chelsca factory in the same period |
| as the Ashmolcan's head suggests an interest in sculptured | | as the Ashmolcan's head suggests an interest in sculptured |
| models (Victoria and Albert Museum c. 34-1975). | | models (Victoria and Albert Museum c. 34-1975). |
| Bemini and Pemoser have already been mentioned as | | Bemini and Pemoser have already been mentioned as |
| sources. There is a connection with the type of head that | | sources. There is a connection with the type of head that |
| Bernini created in the mid-1640s for the angel administering | | Bernini created in the mid-1640s for the angel administering |
| intolerable pleasures to St Teresa in the shrine of that saint | | intolerable pleasures to St Teresa in the shrine of that saint |
| in S. Maria della Vittoria in Rome and then developed for the | | in S. Maria della Vittoria in Rome and then developed for the |
| angel lifting Habalckuk by a lock of hair (in the Chid Chapel | | angel lifting Habalckuk by a lock of hair (in the Chid Chapel |
| of s. Maria del Popolo, Rome, in the mid-1650s) and for the | | of s. Maria del Popolo, Rome, in the mid-1650s) and for the |
| angels and cherubim in the glory above the Cathedra Petri | | angels and cherubim in the glory above the Cathedra Petri |
| in St Peter's ( 1657nd6). The porcelain head has the same | | in St Peter's ( 1657nd6). The porcelain head has the same |
| dynamic mobility of expression and the same bold plasticity | | dynamic mobility of expression and the same bold plasticity |
| in the modelling of cheeks and mouth and eyes, and above | | in the modelling of cheeks and mouth and eyes, and above |
| all in the broad sweeping but pointed locks of hair. What is | | all in the broad sweeping but pointed locks of hair. What is |
| unlike Bemiri is the slanting of the eyes and the shght hint | | unlike Bemiri is the slanting of the eyes and the shght hint |
| of the sublime and divine becoming grotesque and exotic | | of the sublime and divine becoming grotesque and exotic |
| which suggests the development of Bcrnini's style by Pcrmoser | | which suggests the development of Bcrnini's style by Pcrmoser |
| in whose work martyrs and harlequins, devils and Pekinese, | | in whose work martyrs and harlequins, devils and Pekinese, |
| are so closely auied. | | are so closely auied. |
| The origival model for the head is likely to have had a | | The origival model for the head is likely to have had a |
| companion, responding to it in movcmcnt and | | companion, responding to it in movcmcnt and |
| complementing it in expression. Certainly the numerous | | complementing it in expression. Certainly the numerous |
| plaster, terracotta, marble, and bronze versions of the head | | plaster, terracotta, marble, and bronze versions of the head |
| are frequently paired with a head of a crying child. None of | | are frequently paired with a head of a crying child. None of |
| the versions in these media that I have studied is likely to | | the versions in these media that I have studied is likely to |
| have been made before the late eighteenth century but they | | have been made before the late eighteenth century but they |
| 17 | | 17 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| may all the same reflect prototypes which predate the | | may all the same reflect prototypes which predate the |
| porcelain version. (For bronze versions see Christie's, | | porcelain version. (For bronze versions see Christie's, |
| I.ondon, 9 April 1987, lot 116; also Co"»oS.ffc#y (Nov. | | I.ondon, 9 April 1987, lot 116; also Co"»oS.ffc#y (Nov. |
| 1938), 276; Hcim Gallery, Summer Exhibition 1967, p.14, | | 1938), 276; Hcim Gallery, Summer Exhibition 1967, p.14, |
| no. 30, attributed to Artus Quellinus the elder; and K. Corey | | no. 30, attributed to Artus Quellinus the elder; and K. Corey |
| Tbccbhe, European Bronz,es in the Royal Ontario Musettm | | Tbccbhe, European Bronz,es in the Royal Ontario Musettm |
| (Toronto, 1982), no. 84, attributed to Artus Quellinus the | | (Toronto, 1982), no. 84, attributed to Artus Quellinus the |
| younger.. 8. v . Gcitz-M6ha. Catalogtte Of Scttlpture in the | | younger.. 8. v . Gcitz-M6ha. Catalogtte Of Scttlpture in the |
| L¢.e4¢.egho#f, F7i¢7¢4/#7¢, ii (Melsingen, 1988), n. 82; | | L¢.e4¢.egho#f, F7i¢7¢4/#7¢, ii (Melsingen, 1988), n. 82; |
| Sotheby's, New York, 9-10 January 1990, lot 102. ) | | Sotheby's, New York, 9-10 January 1990, lot 102. ) |
| Versions of the laughing child without a pair, dating from | | Versions of the laughing child without a pair, dating from |
| the eighteenth century and with clear British connections, do | | the eighteenth century and with clear British connections, do |
| suggest that the porcelain version might not have had a pair. | | suggest that the porcelain version might not have had a pair. |
| What appears to bc a plaster version of the laughing child | | What appears to bc a plaster version of the laughing child |
| appears, as Malcolm Baker has pointed out to me, in a painting | | appears, as Malcolm Baker has pointed out to me, in a painting |
| of the late 1770s probably by J. H. Mortimer and representing | | of the late 1770s probably by J. H. Mortimer and representing |
| Mortimer, Joseph Wilton, and a student. There is also a signed | | Mortimer, Joseph Wilton, and a student. There is also a signed |
| marble version of the laughing child by Nollekens in the | | marble version of the laughing child by Nollekens in the |
| Hermitage, Leningrad, also with no companion. | | Hermitage, Leningrad, also with no companion. |
| As a pair the heads may have been meant for Heraclitus | | As a pair the heads may have been meant for Heraclitus |
| and Democritus, the cheerful and gloomy Greek | | and Democritus, the cheerful and gloomy Greek |
| philosophers. It is known that Thomas Regnaudin exhibited | | philosophers. It is known that Thomas Regnaudin exhibited |
| a pair of Ire-size plaster busts of the infant Heraclitus and | | a pair of Ire-size plaster busts of the infant Heraclitus and |
| the infant Dcmocritus at the Salon of 1673 (untraced) and a | | the infant Dcmocritus at the Salon of 1673 (untraced) and a |
| pair of bronze heads of the sane by Fran€ois Girardon are | | pair of bronze heads of the sane by Fran€ois Girardon are |
| recorded as made for a friend at Troyes and arc likely to be | | recorded as made for a friend at Troyes and arc likely to be |
| those now in the Mus6e des Beaux-Arts in that city (F. | | those now in the Mus6e des Beaux-Arts in that city (F. |
| Souchal. French Sculptors Of the 17th and l8th Centuries | | Souchal. French Sculptors Of the 17th and l8th Centuries |
| (Oxford,1981 ), ii. 734, nos.101 and 102). A pair of laughing | | (Oxford,1981 ), ii. 734, nos.101 and 102). A pair of laughing |
| and crying children can be seen on a side-table in Willcm van | | and crying children can be seen on a side-table in Willcm van |
| Haecht's painting of 1628 showing the gallery of Cornclis | | Haecht's painting of 1628 showing the gallery of Cornclis |
| van der Geest (Rubens House, Antwerp) and a marble head | | van der Geest (Rubens House, Antwerp) and a marble head |
| in the Staatliche Museen, Berlin-Dahlcm, appears to be a | | in the Staatliche Museen, Berlin-Dahlcm, appears to be a |
| version of the crying child of these two (Inv. 19/75). A | | version of the crying child of these two (Inv. 19/75). A |
| bronze head of such a crying child is included in an opulent | | bronze head of such a crying child is included in an opulent |
| still life with emblems of vanity signed by Pieter Boel in 1663 | | still life with emblems of vanity signed by Pieter Boel in 1663 |
| (Musec des Beaux Arts, Lille-see no. 8, p. 44, of lof; S¢.;c/e | | (Musec des Beaux Arts, Lille-see no. 8, p. 44, of lof; S¢.;c/e |
| de R#Z7G"f (Grand Palais, Paris,1977-8) ). Some heads of | | de R#Z7G"f (Grand Palais, Paris,1977-8) ). Some heads of |
| children dating from the sixteenth century suggest that this | | children dating from the sixteenth century suggest that this |
| theme was already popular then, although none seem to | | theme was already popular then, although none seem to |
| survive as pairs. (The grimacing bronze boy in the Pierpont | | survive as pairs. (The grimacing bronze boy in the Pierpont |
| Morgan Library is a notable cxamplc which could easily belong | | Morgan Library is a notable cxamplc which could easily belong |
| to this category. ) The idea of a pair of angels, one full of joy | | to this category. ) The idea of a pair of angels, one full of joy |
| and the other of sorrow, can certainly be traced back at least | | and the other of sorrow, can certainly be traced back at least |
| to Michelangclo's plans for the tomb of Pope Julius 11 (as | | to Michelangclo's plans for the tomb of Pope Julius 11 (as |
| described in Condivi's Life). The most popular versions o.f | | described in Condivi's Life). The most popular versions o.f |
| this theme, however, arc relatively modern-the paired | | this theme, however, arc relatively modern-the paired |
| bronze heads of the Ashmolean type and, still more, the paired | | bronze heads of the Ashmolean type and, still more, the paired |
| miniature bronze heads much reproduced in the last century | | miniature bronze heads much reproduced in the last century |
| as `Pleur et Rire' or `Jean qui pleur et Jean qui rit' which are | | as `Pleur et Rire' or `Jean qui pleur et Jean qui rit' which are |
| supposed to derive from terracotta models by Houdon (`I.e | | supposed to derive from terracotta models by Houdon (`I.e |
| Ris, I,e Chagrin et le d6dain', three `tetes de caractere en tcrre | | Ris, I,e Chagrin et le d6dain', three `tetes de caractere en tcrre |
| cuite' listed by the artist-but without reference to them | | cuite' listed by the artist-but without reference to them |
| being infantile models; see L. Reau, Ho#do7¢.. S¢ p¢.G Gf fo7¢ | | being infantile models; see L. Reau, Ho#do7¢.. S¢ p¢.G Gf fo7¢ |
| a7#p7.c (Paris, 1964), i. 94, in. 22, no. 55, and pl. XXIV). | | a7#p7.c (Paris, 1964), i. 94, in. 22, no. 55, and pl. XXIV). |
| 18 | | 18 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| 19 | | 19 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| RIchard CHICHELEY (active 1720s and 1730s) | | RIchard CHICHELEY (active 1720s and 1730s) |
| n | | n | @@PROCESS |
| 458. Clock case crowned by a | | 458. Clock case crowned by a |
| crowing cock and a figure of Time | | crowing cock and a figure of Time |
| and flanked by boy angels | | and flanked by boy angels |
| 29.7 cms. (height); 14.35 cms. (length at foliate feet); 10.5 cms. | | 29.7 cms. (height); 14.35 cms. (length at foliate feet); 10.5 cms. |
| (width at foliate feet) | | (width at foliate feet) |
| Ijimcwood. The case is constructed in three parts. The figure of | | Ijimcwood. The case is constructed in three parts. The figure of |
| Time and his base slot into the top of the case. Both of Time's | | Time and his base slot into the top of the case. Both of Time's |
| wings have been broken and glued at the point of contact with the | | wings have been broken and glued at the point of contact with the |
| back. Time's forelock and left and right hands have been broken | | back. Time's forelock and left and right hands have been broken |
| off and are missing, as is the scythe which he wielded-xcept for | | off and are missing, as is the scythe which he wielded-xcept for |
| the blade among the flowers by his right foot. The main body of the | | the blade among the flowers by his right foot. The main body of the |
| case consists of the central opening (with its old brass dial and iron | | case consists of the central opening (with its old brass dial and iron |
| hour hand), the cock, the flanking angels, the scrolls above and | | hour hand), the cock, the flanking angels, the scrolls above and |
| below their feet, and the shield with its elaborate monogram. Most | | below their feet, and the shield with its elaborate monogram. Most |
| of the raised right hand of the angel to proper left has been broken | | of the raised right hand of the angel to proper left has been broken |
| off and is lost, and so too has the emblem (presumably the moon) | | off and is lost, and so too has the emblem (presumably the moon) |
| which he held aloft. The end of his right wing, also a flourish of | | which he held aloft. The end of his right wing, also a flourish of |
| drapery at his back, are broken off and lost. The other angel has lost | | drapery at his back, are broken off and lost. The other angel has lost |
| his left wing and the ends of some of the points of his star. The | | his left wing and the ends of some of the points of his star. The |
| four foliate feet into which the case of the clock is fitted fonn a | | four foliate feet into which the case of the clock is fitted fonn a |
| separate unit. There arc traces of adhesive below it. Behind the base | | separate unit. There arc traces of adhesive below it. Behind the base |
| is a paper label printed `1836 Cat: p.' with ` 141 / No. 401.A.' added | | is a paper label printed `1836 Cat: p.' with ` 141 / No. 401.A.' added |
| in black ink. On the flat back of the central body of the clock in black | | in black ink. On the flat back of the central body of the clock in black |
| ink is written: `Museo Ashmoleano / Geordus Clarke | | ink is written: `Museo Ashmoleano / Geordus Clarke |
| LL:D: / 1736 / Ricardus Chicheley / Archisculptor | | LL:D: / 1736 / Ricardus Chicheley / Archisculptor |
| Chathamensis/Navalis/Fecit'. | | Chathamensis/Navalis/Fecit'. |
| Given by Gcorgc Clarkc in 1736 (see below). First recorded in print | | Given by Gcorgc Clarkc in 1736 (see below). First recorded in print |
| as `A model of st Peter's Clock at Rome; carved by Chicheley' in | | as `A model of st Peter's Clock at Rome; carved by Chicheley' in |
| A Catalogtte of the Ashmolean Museum: Descriprion Of the Zoological | | A Catalogtte of the Ashmolean Museum: Descriprion Of the Zoological |
| Specimens, Arwiquities, Coins and Miscellaneous Cttriosities (Oxford, | | Specimens, Arwiquities, Coins and Miscellaneous Cttriosities (Oxford, |
| 1836), 141, no. 401a. | | 1836), 141, no. 401a. |
| For Chichcley scc also No. 459. He was evidently a carver | | For Chichcley scc also No. 459. He was evidently a carver |
| connected with the Royal Navy and with some official | | connected with the Royal Navy and with some official |
| attachment to the dockyards at Chatham. Payments are | | attachment to the dockyards at Chatham. Payments are |
| recorded for hin and his partner Joseph Wade bctwecn 1726 | | recorded for hin and his partner Joseph Wade bctwecn 1726 |
| and 1728 for work on the pediment of the west middle front | | and 1728 for work on the pediment of the west middle front |
| of Greenwich Palace-ccording to Gunnis who, however, | | of Greenwich Palace-ccording to Gunnis who, however, |
| in his entry for Wade records the partner's name as | | in his entry for Wade records the partner's name as |
| Bartholomew, rather than RIchard, Chicheley (R Gunnis, | | Bartholomew, rather than RIchard, Chicheley (R Gunnis, |
| D¢.cf¢.o„¢vy a/B".£¢.£¢ Sc„/Pforf ( I.ondon, 1968 ), loo and 411 ). | | D¢.cf¢.o„¢vy a/B".£¢.£¢ Sc„/Pforf ( I.ondon, 1968 ), loo and 411 ). |
| Gunnis also records payments for decorative stone carvings | | Gunnis also records payments for decorative stone carvings |
| (capitals, modiLLions, flowers, and mask heads) in the south | | (capitals, modiLLions, flowers, and mask heads) in the south |
| Pavilion of Quccn Anne's Court and over the chimney in the | | Pavilion of Quccn Anne's Court and over the chimney in the |
| kitchen of the south-west Pavilion (ibid. loo). | | kitchen of the south-west Pavilion (ibid. loo). |
| The clock has no resemblance to that on one end of the | | The clock has no resemblance to that on one end of the |
| upper reSster of the fa€ade of the Basilica of st Pcter's in | | upper reSster of the fa€ade of the Basilica of st Pcter's in |
| Rome but a connection with St Peter is suggested by the cock | | Rome but a connection with St Peter is suggested by the cock |
| (although this is appropriate to clocks anyway) and it is not | | (although this is appropriate to clocks anyway) and it is not |
| impossible that the clock is an illecttinate child of some | | impossible that the clock is an illecttinate child of some |
| Roman seventeenth-century invention. The monogram on | | Roman seventeenth-century invention. The monogram on |
| the shield involves two Gs and two Cs and indicates the | | the shield involves two Gs and two Cs and indicates the |
| donor, Dr George Clarkc ( 1661-1736), `Fellow of All Souls, | | donor, Dr George Clarkc ( 1661-1736), `Fellow of All Souls, |
| sometime burgess of the University, and one of Queen Anne's | | sometime burgess of the University, and one of Queen Anne's |
| Commissioners for executing the office of I.ord High | | Commissioners for executing the office of I.ord High |
| Admiral'. In 1719 he had given `a model of a fully rigged ship | | Admiral'. In 1719 he had given `a model of a fully rigged ship |
| made by Williani Ijee' to the Museum. (See R F. Ovcnell, | | made by Williani Ijee' to the Museum. (See R F. Ovcnell, |
| The Ashmolean Musettm 1683-1894 (Oxf;ord, \986), L\9, | | The Ashmolean Musettm 1683-1894 (Oxf;ord, \986), L\9, |
| n | | n | @@PROCESS |
| 137). His interest in sculpture is suggested by the fact that | | 137). His interest in sculpture is suggested by the fact that |
| be preseITted aL group o£ Sun§on slaying the Philistine after | | be preseITted aL group o£ Sun§on slaying the Philistine after |
| Giambologna to Brasenose Collcgc in 1727 (it was removed | | Giambologna to Brasenose Collcgc in 1727 (it was removed |
| in 1881). Hc was the architect of the Warden's I.odgivg at | | in 1881). Hc was the architect of the Warden's I.odgivg at |
| All Souls of 1704nd, the Library of Christ Church (begun | | All Souls of 1704nd, the Library of Christ Church (begun |
| 1717), and, in consultation with Hawksmorc, he designed | | 1717), and, in consultation with Hawksmorc, he designed |
| the new buildings for Worcestcr Couegc in about 1720 and | | the new buildings for Worcestcr Couegc in about 1720 and |
| for Magdalen in about 1730. The beauties of carly eightccnth-century | | for Magdalen in about 1730. The beauties of carly eightccnth-century |
| Oxford owe more to him than to any other man. | | Oxford owe more to him than to any other man. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Perhaps Richard CHICHELEY (active 1720s and 1730s) | | Perhaps Richard CHICHELEY (active 1720s and 1730s) |
| n | | n | @@PROCESS |
| 459. Royal arms | | 459. Royal arms |
| 11 cms. (height excluding lion on crown); 14 cms. (width) | | 11 cms. (height excluding lion on crown); 14 cms. (width) |
| Boxwood. There are small losses to the thinnest portions of the | | Boxwood. There are small losses to the thinnest portions of the |
| foliate scrolls below the lion's tail, to the unicorn's back left leg, | | foliate scrolls below the lion's tail, to the unicorn's back left leg, |
| and the scrolls behind it. The uppermost forward curled end of the | | and the scrolls behind it. The uppermost forward curled end of the |
| acanthus has been broken off on both sides; that to proper left | | acanthus has been broken off on both sides; that to proper left |
| survives (and has been photographed in place). The lion finial to the | | survives (and has been photographed in place). The lion finial to the |
| helm has been broken off but survives (and has been photographed | | helm has been broken off but survives (and has been photographed |
| in place). There is a crack in the shield to proper left near the front | | in place). There is a crack in the shield to proper left near the front |
| left hoof of the unicorn. A metal chain is attached to the unicorn's | | left hoof of the unicorn. A metal chain is attached to the unicorn's |
| collar. On the reverse of the carving there is a black-bordered paper | | collar. On the reverse of the carving there is a black-bordered paper |
| label printed with `oN LOAN FROM' and `18 . . .', with `Ashmolean | | label printed with `oN LOAN FROM' and `18 . . .', with `Ashmolean |
| Museum / Oxford' written in brown ink, together with a smaller | | Museum / Oxford' written in brown ink, together with a smaller |
| paper label printed `1836 Cat: p' with `141' and `No. 401' in ink. | | paper label printed `1836 Cat: p' with `141' and `No. 401' in ink. |
| There are also traces of a pink paper label. Scaling wax was once | | There are also traces of a pink paper label. Scaling wax was once |
| attached behind the helm and behind the unicorn. | | attached behind the helm and behind the unicorn. |
| 22 | | 22 |
| I'resumably the `hatchment of the Royal Arms, finely carved', given | | I'resumably the `hatchment of the Royal Arms, finely carved', given |
| to the Museum by George Clarke in 1736. For Clarke see No. 458. | | to the Museum by George Clarke in 1736. For Clarke see No. 458. |
| First recorded in print as `The FGng's arms finely carved in wood by | | First recorded in print as `The FGng's arms finely carved in wood by |
| Chicheley 1736' in A C¢£#/og"c a/ £bc Aj¢7coo/e¢79 M#fc#7#.. | | Chicheley 1736' in A C¢£#/og"c a/ £bc Aj¢7coo/e¢79 M#fc#7#.. |
| Description of the Zoological Specimens, Antiquities, Coins and | | Description of the Zoological Specimens, Antiquities, Coins and |
| M;JCG//¢7¢Go#f C#r;ojG.f¢.cJ (Oxford, 1836), 141, no. 401. | | M;JCG//¢7¢Go#f C#r;ojG.f¢.cJ (Oxford, 1836), 141, no. 401. |
| For Chicheley see the wooden clock case, No. 458. The 1836 | | For Chicheley see the wooden clock case, No. 458. The 1836 |
| catalogue is not entirely trustworthy. 1736 is the date which | | catalogue is not entirely trustworthy. 1736 is the date which |
| is written on the wooden clock case, not on these arms. | | is written on the wooden clock case, not on these arms. |
| Perhaps the name of Chicheley slipped over from the clock | | Perhaps the name of Chicheley slipped over from the clock |
| case as well. It is easy to see how this carving would have been | | case as well. It is easy to see how this carving would have been |
| associated with the clock case, both being miniature carvings | | associated with the clock case, both being miniature carvings |
| in wood, and it is easy to see how a tradition might have | | in wood, and it is easy to see how a tradition might have |
| arisen that they were by the same hand. | | arisen that they were by the same hand. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Dora CIARKE (Dora Thacher Middleton, nee Clarke) | | Dora CIARKE (Dora Thacher Middleton, nee Clarke) |
| (1895-1989) | | (1895-1989) |
| n | | n | @@PROCESS |
| 460. Coloured girl from | | 460. Coloured girl from |
| Massachusetts | | Massachusetts |
| 31.2 cms. (height); 5 cms. (height of plinth); 16.5 cms. (length | | 31.2 cms. (height); 5 cms. (height of plinth); 16.5 cms. (length |
| and width of plinth) | | and width of plinth) |
| Rosewood, carved and polished. There are a few very slight vertical | | Rosewood, carved and polished. There are a few very slight vertical |
| splits. Mounted on a block of highly polished black slate. | | splits. Mounted on a block of highly polished black slate. |
| Sold by the artist probably in 1962 or soon afterwards to her friend | | Sold by the artist probably in 1962 or soon afterwards to her friend |
| orovida Pissarro by whom it was bequeathed to the Ashmolean | | orovida Pissarro by whom it was bequeathed to the Ashmolean |
| Museum in 1968 together with two of her own paintings. Rcdstered | | Museum in 1968 together with two of her own paintings. Rcdstered |
| in December (with no day given) as `Head of a native Woman. | | in December (with no day given) as `Head of a native Woman. |
| Wood'. | | Wood'. |
| Dora Clarke, although still alive when this catalogue was being | | Dora Clarke, although still alive when this catalogue was being |
| compiled (she died 20 October 1989), was not able to help | | compiled (she died 20 October 1989), was not able to help |
| with the cataloguing of her work. She studied at the Slade | | with the cataloguing of her work. She studied at the Slade |
| School between 1910 and 1916. Some impressive finished | | School between 1910 and 1916. Some impressive finished |
| drawings of factories in Detroit are dated 1917. An album of | | drawings of factories in Detroit are dated 1917. An album of |
| photographs of her sculpture commences with a marble low | | photographs of her sculpture commences with a marble low |
| relief dated 1922. This work, entitled 777c /egg"d a/S¢p¢.fr¢., | | relief dated 1922. This work, entitled 777c /egg"d a/S¢p¢.fr¢., |
| was exhibited at the Royal Academy in 1923. She exhibited | | was exhibited at the Royal Academy in 1923. She exhibited |
| frequently at the Academy between 1924 and 1934, also in | | frequently at the Academy between 1924 and 1934, also in |
| 1938 and then in 1953, 1955, and 1959. During the 1950s | | 1938 and then in 1953, 1955, and 1959. During the 1950s |
| she also exhibited frequently at the Royal Society of British | | she also exhibited frequently at the Royal Society of British |
| Artists. During the 1920s and 1930s she enjoyed considerable | | Artists. During the 1920s and 1930s she enjoyed considerable |
| success, both receiving portrait commissions and selling work | | success, both receiving portrait commissions and selling work |
| to important collectors of advanced taste. | | to important collectors of advanced taste. |
| Many of her works were of exotic subjects and were | | Many of her works were of exotic subjects and were |
| fashioncd out of exotic natural materials, most of them | | fashioncd out of exotic natural materials, most of them |
| carved-but she did also work in copper and aluminium. Her | | carved-but she did also work in copper and aluminium. Her |
| slate group 8¢.4¢. N¢ Tofo of 1925 and her ebony K¢fe¢.owo"¢o | | slate group 8¢.4¢. N¢ Tofo of 1925 and her ebony K¢fe¢.owo"¢o |
| g¢.71/ of 1928 were bequeathed by Miss Gertrude Watson to | | g¢.71/ of 1928 were bequeathed by Miss Gertrude Watson to |
| the Albright Knox Museum, Buffalo, New York, her Pr¢.»cGff | | the Albright Knox Museum, Buffalo, New York, her Pr¢.»cGff |
| Be"yw a/ LJg#„d¢ in Japanese wood of 1928 was sold to the | | Be"yw a/ LJg#„d¢ in Japanese wood of 1928 was sold to the |
| Ijondon County Council, and her GG.71/ £4¢.#4¢.„g in RIsii stone | | Ijondon County Council, and her GG.71/ £4¢.#4¢.„g in RIsii stone |
| of 1932 was purchased by Manchester City Art Gaucry. There | | of 1932 was purchased by Manchester City Art Gaucry. There |
| is a gap in the album, and there was probably a sharp reduction | | is a gap in the album, and there was probably a sharp reduction |
| in her work, bctwcen 1941 and 1951. | | in her work, bctwcen 1941 and 1951. |
| In 1936 she married Gervase Middleton, later Admiral | | In 1936 she married Gervase Middleton, later Admiral |
| Middlcton CB, CBE. Some letters from her to Orovida | | Middlcton CB, CBE. Some letters from her to Orovida |
| Pissarro, preserved in the Pissarro archive of the Ashmolean | | Pissarro, preserved in the Pissarro archive of the Ashmolean |
| Museum, describe her lack of enthusiasm for givng dinner | | Museum, describe her lack of enthusiasm for givng dinner |
| parties for sea-lords and her severe migraines and depression. | | parties for sea-lords and her severe migraines and depression. |
| She rcccived special treatment in a Chicago hospital in 1947 | | She rcccived special treatment in a Chicago hospital in 1947 |
| and seems to have had friends and relatives in the USA (hence | | and seems to have had friends and relatives in the USA (hence |
| perhaps the subject of the Ashmolcan's carving). Her father | | perhaps the subject of the Ashmolcan's carving). Her father |
| had been an American citizen. The Ashmolcan Museum's | | had been an American citizen. The Ashmolcan Museum's |
| sculpture is included in the album as made in 1962 and sold | | sculpture is included in the album as made in 1962 and sold |
| to Orovida who may have already owned other sculptures by | | to Orovida who may have already owned other sculptures by |
| her: a photograph in the Pissarro archive of her home,13 | | her: a photograph in the Pissarro archive of her home,13 |
| Redcliffe Gardens, I.ondon Swlo, taken in the mid-1950s | | Redcliffe Gardens, I.ondon Swlo, taken in the mid-1950s |
| includes the K¢.feey" g¢.71/ ( probably a work dating from the | | includes the K¢.feey" g¢.71/ ( probably a work dating from the |
| 1920s) next to the telephone. | | 1920s) next to the telephone. |
| The Coloured girl fivm Mac§achusett§ was ."ustratcd .\n | | The Coloured girl fivm Mac§achusett§ was ."ustratcd .\n |
| Fcrelyth and Bill Wills's Sc#/¢f#7ic ¢.7¢ Wood (Newton Abbot, | | Fcrelyth and Bill Wills's Sc#/¢f#7ic ¢.7¢ Wood (Newton Abbot, |
| 1975 ), a book which expounds the attitude to sculpture which | | 1975 ), a book which expounds the attitude to sculpture which |
| Dora Clarke herself shared-shape, colour, and texture of | | Dora Clarke herself shared-shape, colour, and texture of |
| the material suggesting form and subject-matter. Dora Clarke | | the material suggesting form and subject-matter. Dora Clarke |
| was still active as a sculptor when this book appeared: the | | was still active as a sculptor when this book appeared: the |
| ebony group 7ZJc /¢.ffg"Gr of 1975-7 is the last work in her | | ebony group 7ZJc /¢.ffg"Gr of 1975-7 is the last work in her |
| album. Many pieces were removed without authority from | | album. Many pieces were removed without authority from |
| her studio when she left to live in a nursing home. | | her studio when she left to live in a nursing home. |
| The album referred to above was acquired by the | | The album referred to above was acquired by the |
| Dcpartmcnt of western Art in 1991, together with a portrait | | Dcpartmcnt of western Art in 1991, together with a portrait |
| of Dora Clarke by Orovida. | | of Dora Clarke by Orovida. |
| 23 | | 23 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Geoffiey CIARKE RA (b.1924) | | Geoffiey CIARKE RA (b.1924) |
| n | | n | @@PROCESS |
| 461. Angle and supported bar | | 461. Angle and supported bar |
| 12.I cms. (height); 23.5 cms. (length); 7.5 cms. (width) | | 12.I cms. (height); 23.5 cms. (length); 7.5 cms. (width) |
| Aluminium of a grey grade, the surface treated with silicone wax. | | Aluminium of a grey grade, the surface treated with silicone wax. |
| Solid, sand-cast, in one piece by the artist at his workshop at Stowe | | Solid, sand-cast, in one piece by the artist at his workshop at Stowe |
| Hill, Hartest. Stamped under the supported bar with `G C'-the | | Hill, Hartest. Stamped under the supported bar with `G C'-the |
| first initial embracing the second-which encloses a diminutive `64'. | | first initial embracing the second-which encloses a diminutive `64'. |
| `6/10' and `410' incised to either side of this mark, indicating the | | `6/10' and `410' incised to either side of this mark, indicating the |
| edition. | | edition. |
| From the collection of Christopher Hewett ( 1938-83). Given to | | From the collection of Christopher Hewett ( 1938-83). Given to |
| the Museum by his family in June 1985 and included in the | | the Museum by his family in June 1985 and included in the |
| exhibition celebrating the gift which was held in the MCAlpine | | exhibition celebrating the gift which was held in the MCAlpine |
| Gallery in January and February 1987 (no. 34-with marks | | Gallery in January and February 1987 (no. 34-with marks |
| catalogued incorrectly ). | | catalogued incorrectly ). |
| Another sculpture (No. 462) and a monotypc by Clarkc were | | Another sculpture (No. 462) and a monotypc by Clarkc were |
| also included in the ctft. Clarke had exhibited at Hewett's | | also included in the ctft. Clarke had exhibited at Hewett's |
| Taranman Gallery in 1975, 1976, and 1982. This piece was | | Taranman Gallery in 1975, 1976, and 1982. This piece was |
| shown in the latter year but is dated `64' (i.c. 1964) and is | | shown in the latter year but is dated `64' (i.c. 1964) and is |
| related to A"g/G ¢"d j#4Po7¢¢d hay, a unique aluminium | | related to A"g/G ¢"d j#4Po7¢¢d hay, a unique aluminium |
| sculpture 20 inches high, 16 inches wide, and 36 inches long | | sculpture 20 inches high, 16 inches wide, and 36 inches long |
| which was exhibited at the Redfcrn Gallery, 20 Cork Street, | | which was exhibited at the Redfcrn Gallery, 20 Cork Street, |
| hondon, in L965 (Geo!ffiey Clarhe: Recent Scttl|itttres, r\o. 7 > | | hondon, in L965 (Geo!ffiey Clarhe: Recent Scttl|itttres, r\o. 7 > |
| illustrated). In the introduction to the catalogue for that | | illustrated). In the introduction to the catalogue for that |
| exhibition J. P. Hodin writes of Clarke's sculptures as signs, | | exhibition J. P. Hodin writes of Clarke's sculptures as signs, |
| and notes the inspiration of ideograms, Klee's paintings, | | and notes the inspiration of ideograms, Klee's paintings, |
| Picasso's sculpture, and the `calligraphic' character of oriental | | Picasso's sculpture, and the `calligraphic' character of oriental |
| bronzes. The aluminium retains some of the texture of the | | bronzes. The aluminium retains some of the texture of the |
| polystyrene from which the origival model was cut. | | polystyrene from which the origival model was cut. |
| 24 | | 24 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Geoffrey CIARKE RA (b.1924) | | Geoffrey CIARKE RA (b.1924) |
| n | | n | @@PROCESS |
| 462. Books | | 462. Books |
| 18.75 cms. (height); 26.95 cms. (length); 6.3 cms. (width) | | 18.75 cms. (height); 26.95 cms. (length); 6.3 cms. (width) |
| Cast aluminium of a grey grade, the surface treated with sihicone | | Cast aluminium of a grey grade, the surface treated with sihicone |
| wax, pohished on the three raised edges. Stamped on the lower right | | wax, pohished on the three raised edges. Stamped on the lower right |
| of the raised central rectangular relief area with `G C'-the first | | of the raised central rectangular relief area with `G C'-the first |
| initial embracing the second-which encloses a diminutive `81'; the | | initial embracing the second-which encloses a diminutive `81'; the |
| number 1 below. Two bolts are attached to the rear for hanging. | | number 1 below. Two bolts are attached to the rear for hanging. |
| Provenance-s with No. 461 (No. 35 in the 1987 exhibition). | | Provenance-s with No. 461 (No. 35 in the 1987 exhibition). |
| There may be a relationship with the twenty-two prints (in | | There may be a relationship with the twenty-two prints (in |
| different media-copper engraving, dry-point, etching, and | | different media-copper engraving, dry-point, etching, and |
| aquatint) made in homage to 7Z/c fb#Gc 4oofu, the etching by | | aquatint) made in homage to 7Z/c fb#Gc 4oofu, the etching by |
| Hercules Seghers, by fifteen artists (including Henry Moore, | | Hercules Seghers, by fifteen artists (including Henry Moore, |
| Vieira da Silva, Ubac) for I,c I,¢.prg de /¢.p#Gf by Pierre Lecuire, | | Vieira da Silva, Ubac) for I,c I,¢.prg de /¢.p#Gf by Pierre Lecuire, |
| published in Paris at the close of 1974 and first exhibited | | published in Paris at the close of 1974 and first exhibited |
| early in 1975 at Christophcr Hewett's Tararman Gauery. | | early in 1975 at Christophcr Hewett's Tararman Gauery. |
| 25 | | 25 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| John CIARKE (died 1990) | | John CIARKE (died 1990) |
| n | | n | @@PROCESS |
| 463. Cain and Abel | | 463. Cain and Abel |
| n | | n | @@PROCESS |
| 109.2 cms. (height including integral plinth); 77.3 cms. (length | | 109.2 cms. (height including integral plinth); 77.3 cms. (length |
| of integral plinth); 39.5 cms. (width of integral plinth) | | of integral plinth); 39.5 cms. (width of integral plinth) |
| Bronze with a dull dark grey to brown patina. Hollow, lost-wax, | | Bronze with a dull dark grey to brown patina. Hollow, lost-wax, |
| cast. `TOHN CIARKE' is chiselled in the chamfered side of the plinth | | cast. `TOHN CIARKE' is chiselled in the chamfered side of the plinth |
| to the right of the female figurc's right foot. | | to the right of the female figurc's right foot. |
| Provenance unrecorded. The sculpture seems never to have been on | | Provenance unrecorded. The sculpture seems never to have been on |
| public exhibition. | | public exhibition. |
| John Clarke enjoyed little reputation as a sculptor. His name | | John Clarke enjoyed little reputation as a sculptor. His name |
| is in no reference books. The style, in particular the boldly | | is in no reference books. The style, in particular the boldly |
| scooped out and simphfied treatment of the heads influenced | | scooped out and simphfied treatment of the heads influenced |
| by Gauguin's `primitive' style of wood-carving, suggests a | | by Gauguin's `primitive' style of wood-carving, suggests a |
| date in the 1920s or 1930s. It seems unlikely that the Museum | | date in the 1920s or 1930s. It seems unlikely that the Museum |
| could have bought or even have accepted as a gift such a | | could have bought or even have accepted as a gift such a |
| 26 | | 26 |
| cumbersome work by a completely unknown artist without | | cumbersome work by a completely unknown artist without |
| any record being made, but it is possible that it was placed | | any record being made, but it is possible that it was placed |
| on deposit and never retrieved. Although the figures are male | | on deposit and never retrieved. Although the figures are male |
| and fcmalc the group is entitled `Cain and Abel' in a | | and fcmalc the group is entitled `Cain and Abel' in a |
| photograph album of works by Clarke brought into the | | photograph album of works by Clarke brought into the |
| Museum by Roger Warncr on 18 Scptcmber 1990. The | | Museum by Roger Warncr on 18 Scptcmber 1990. The |
| caption to the photograph reads as follows `Malc and Female. | | caption to the photograph reads as follows `Malc and Female. |
| The struggle between the positive and negative in nature. An | | The struggle between the positive and negative in nature. An |
| allegory. Chebel (Abel) Conception, pains of birth. The Ego | | allegory. Chebel (Abel) Conception, pains of birth. The Ego |
| in conflict with matter, Having arrived at man and woman | | in conflict with matter, Having arrived at man and woman |
| and not being interested outside its drama in the bloody | | and not being interested outside its drama in the bloody |
| murder in the Biblical story, I have preferred to dramatise | | murder in the Biblical story, I have preferred to dramatise |
| the kind of murder we most of us commit when we push on | | the kind of murder we most of us commit when we push on |
| one side a fine attribute in order to let one less fine flourish.' | | one side a fine attribute in order to let one less fine flourish.' |
| A photograph of the artist's home, the Malt House near | | A photograph of the artist's home, the Malt House near |
| Burford, taken in 1953, includes a plaster version of the | | Burford, taken in 1953, includes a plaster version of the |
| group. | | group. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| S. E. COVELL (active 1810-12) | | S. E. COVELL (active 1810-12) |
| n | | n | @@PROCESS |
| 464. Profile portrait allegedly of | | 464. Profile portrait allegedly of |
| Baron Dominique Vivant Demon | | Baron Dominique Vivant Demon |
| 7.85 cms. (height of bust); 10.2 cms. (height of oval ground | | 7.85 cms. (height of bust); 10.2 cms. (height of oval ground |
| inside frame); 8.4 cms. (width of oval ground inside frame); | | inside frame); 8.4 cms. (width of oval ground inside frame); |
| 17.1 cms. (height of board); 14.6 cms. (width of board) | | 17.1 cms. (height of board); 14.6 cms. (width of board) |
| Wax, flesh-pink in colour, on a black ground, of paper or card, in | | Wax, flesh-pink in colour, on a black ground, of paper or card, in |
| the original oval gilt metal frame, mounted on a black wooden | | the original oval gilt metal frame, mounted on a black wooden |
| board. Incised in capital letters in the curve of the cut of the bust | | board. Incised in capital letters in the curve of the cut of the bust |
| at the arm: `s. E. covELL 1810.' There is an old break from the bridge | | at the arm: `s. E. covELL 1810.' There is an old break from the bridge |
| of the nose to the upper lip. | | of the nose to the upper lip. |
| Given by Sir Gilbert I.althwaite, GCMG, KCB, of 214 Ashlcy | | Given by Sir Gilbert I.althwaite, GCMG, KCB, of 214 Ashlcy |
| Gardens, I.ondon Swl, in 1964. Rcdstered on 16 July of that year. | | Gardens, I.ondon Swl, in 1964. Rcdstered on 16 July of that year. |
| A card origivally pasted to the backboard of the franc carried | | A card origivally pasted to the backboard of the franc carried |
| a transcription in sepia ink by a mid-nineteenth-century | | a transcription in sepia ink by a mid-nineteenth-century |
| French hand of a brief biography of Denon, 1747-1825, | | French hand of a brief biography of Denon, 1747-1825, |
| Director General of French Museuins under Napoleon and | | Director General of French Museuins under Napoleon and |
| the cmpcror's art adviser. It mentions the 1829 edition of his | | the cmpcror's art adviser. It mentions the 1829 edition of his |
| Voyage days la haute et basse Egypee, so .rt "st ha:Ne been | | Voyage days la haute et basse Egypee, so .rt "st ha:Ne been |
| written after that date-considerably after the date of this | | written after that date-considerably after the date of this |
| portrait. Whilst the profile is not incompatible with other | | portrait. Whilst the profile is not incompatible with other |
| portraits of Dcnon, one may wonder whether it has not been | | portraits of Dcnon, one may wonder whether it has not been |
| confused with another portrait of a different date or whcthcr | | confused with another portrait of a different date or whcthcr |
| it was perhaps not made from the lfc, for 1810 was not a | | it was perhaps not made from the lfc, for 1810 was not a |
| date at which one would expect to find an English artist in | | date at which one would expect to find an English artist in |
| Paris obtaining a sitting from such a busy official. | | Paris obtaining a sitting from such a busy official. |
| Furthermore, in the bronze statue of 1826 by Pierre Cartehier | | Furthermore, in the bronze statue of 1826 by Pierre Cartehier |
| in the Cimctiere Pare Lachaise, Dcnon's head is not very | | in the Cimctiere Pare Lachaise, Dcnon's head is not very |
| silular. The term bust by Joseph Charles Marin exhibited at | | silular. The term bust by Joseph Charles Marin exhibited at |
| the Salon in 1827 (Ijouvre, c.c.179) is no closer. Four other | | the Salon in 1827 (Ijouvre, c.c.179) is no closer. Four other |
| wax portraits by Mrs Covell are listed in E. J. Pyke's | | wax portraits by Mrs Covell are listed in E. J. Pyke's |
| B~i.ogr.Phi.c?lDictionaryOfWanModellers(Oxiold,r973), | | B~i.ogr.Phi.c?lDictionaryOfWanModellers(Oxiold,r973), |
| 32. All of these arc of British sitters and those that are dated | | 32. All of these arc of British sitters and those that are dated |
| are of 1810 or 1812. A Miss Covell, painter, exhibited a | | are of 1810 or 1812. A Miss Covell, painter, exhibited a |
| portrait at the Royal Academy in 1810. | | portrait at the Royal Academy in 1810. |
| 27 | | 27 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Associate of James COX (active from 1749; d. late 1791 or | | Associate of James COX (active from 1749; d. late 1791 or |
| January 1792) | | January 1792) |
| n | | n | @@PROCESS |
| 465. Clock case supported by scrolls | | 465. Clock case supported by scrolls |
| and fantastic fish and flanked by | | and fantastic fish and flanked by |
| female personifications | | female personifications |
| 65 cms. (height); 33 cms. (length); 19.7 cms. (width); 19.2 cms. | | 65 cms. (height); 33 cms. (length); 19.7 cms. (width); 19.2 cms. |
| (diameter of main dial, including franc); 9.5 cms. (height of | | (diameter of main dial, including franc); 9.5 cms. (height of |
| miniature painting); 6. 5 cms. (width of miniature painting) | | miniature painting); 6. 5 cms. (width of miniature painting) |
| The movement strikes the hours and chimes the quarters on eight | | The movement strikes the hours and chimes the quarters on eight |
| bells. The main enamel dial has two subsidiary ones above: proper | | bells. The main enamel dial has two subsidiary ones above: proper |
| right for regulation, proper left strike silent. `TA§ CoX / LONDON' is | | right for regulation, proper left strike silent. `TA§ CoX / LONDON' is |
| inscribed between the subsidiary dials. Engraved on the brass | | inscribed between the subsidiary dials. Engraved on the brass |
| backplate: `Jamcs Cox. / Ik>ndon' in a frame of symmetrical rococo | | backplate: `Jamcs Cox. / Ik>ndon' in a frame of symmetrical rococo |
| scrolls and tendrils. The glazed oval opening below the main dial | | scrolls and tendrils. The glazed oval opening below the main dial |
| contains a miniature gouache painting on vellum stretched over a | | contains a miniature gouache painting on vellum stretched over a |
| copper plate. Rose silk was origivally visible through the pierced | | copper plate. Rose silk was origivally visible through the pierced |
| work of the sides of the case and behind the entangled ribbons and | | work of the sides of the case and behind the entangled ribbons and |
| olive branches around the miniature. This material only survived in | | olive branches around the miniature. This material only survived in |
| deteriorated fragments attached to a fabric glued in its place about | | deteriorated fragments attached to a fabric glued in its place about |
| thirty years ago: it was replaced in 1988. | | thirty years ago: it was replaced in 1988. |
| The case itself is of bronze, fire-dlt. The gilding is tarnished black | | The case itself is of bronze, fire-dlt. The gilding is tarnished black |
| in several places. The main body-onsisting of figures, scrolls, | | in several places. The main body-onsisting of figures, scrolls, |
| swags below the dial, and fish-was cast in one piece. Plugs are | | swags below the dial, and fish-was cast in one piece. Plugs are |
| visible on the knee of the figure to proper left, also on her upper arm | | visible on the knee of the figure to proper left, also on her upper arm |
| and her shoulder blade. There are several firing cracks, e.g. on the | | and her shoulder blade. There are several firing cracks, e.g. on the |
| shoulder blade just mentioned. The acanthus leaves enriching the | | shoulder blade just mentioned. The acanthus leaves enriching the |
| four principal scrolls are separately cast and bolted in place (that on | | four principal scrolls are separately cast and bolted in place (that on |
| the back leg, proper left, is now loose). The frame for the dials is | | the back leg, proper left, is now loose). The frame for the dials is |
| also separately cast, as is that for the miniature which is embellished | | also separately cast, as is that for the miniature which is embellished |
| with the branches and ribbons-portion of these has been broken | | with the branches and ribbons-portion of these has been broken |
| off and is rejoined by screws (the photograph of the detached frame | | off and is rejoined by screws (the photograph of the detached frame |
| has been taken without this), and other smaller parts have been | | has been taken without this), and other smaller parts have been |
| reinforced by small plates screwed behind. The elements on top of | | reinforced by small plates screwed behind. The elements on top of |
| the case-the lion, crown, shield, oval walsted socle and its finial-are | | the case-the lion, crown, shield, oval walsted socle and its finial-are |
| all cast separately. The lion's left rear leg is cracked through and | | all cast separately. The lion's left rear leg is cracked through and |
| large plugs are easily discerned in his rump. His front left paw is | | large plugs are easily discerned in his rump. His front left paw is |
| attached by wire to the finial of the crown. | | attached by wire to the finial of the crown. |
| Bequeathed by J. F. Mallctt in January 1947. Received in the | | Bequeathed by J. F. Mallctt in January 1947. Received in the |
| Museum late May 1947. No.184 in the inventory of his collection | | Museum late May 1947. No.184 in the inventory of his collection |
| where described as `A clock in English ormolu case, fomed by two | | where described as `A clock in English ormolu case, fomed by two |
| female figures standing on dolphin feet' and valued at £360. Bought | | female figures standing on dolphin feet' and valued at £360. Bought |
| by Mallett at the sale of sir George Donaldson's collection, Puttick | | by Mallett at the sale of sir George Donaldson's collection, Puttick |
| and Simpson, I.ondon, 6-10 July 1925, lot 328. Previously in the | | and Simpson, I.ondon, 6-10 July 1925, lot 328. Previously in the |
| third part of the Hamilton Palace Sale, 3 July 1882, lot 884, fetching | | third part of the Hamilton Palace Sale, 3 July 1882, lot 884, fetching |
| es61. Presumably acquired by the tenth duke of Hamilton ( 1767- | | es61. Presumably acquired by the tenth duke of Hamilton ( 1767- |
| 1852 ) in the early nineteenth or, possibly, late eighteenth century. | | 1852 ) in the early nineteenth or, possibly, late eighteenth century. |
| When in previous collections, and unth very recently in the | | When in previous collections, and unth very recently in the |
| Ashmolcan Museum, it was believed that this clock was made | | Ashmolcan Museum, it was believed that this clock was made |
| for Henry Benedict, cardinal of York ( 1725-1807), the `last | | for Henry Benedict, cardinal of York ( 1725-1807), the `last |
| of the Stuarts', who, on the death of his elder brother the | | of the Stuarts', who, on the death of his elder brother the |
| Young Pretender, in 1788, styled himself Henry IX, king of | | Young Pretender, in 1788, styled himself Henry IX, king of |
| England. This was on account of the Stuart arms on the | | England. This was on account of the Stuart arms on the |
| shield which, since they have a crescent at the honour point | | shield which, since they have a crescent at the honour point |
| and a prince's crown, must date from before 1788. When | | and a prince's crown, must date from before 1788. When |
| the case is examined from above (which is normally impossible ) | | the case is examined from above (which is normally impossible ) |
| and also in its interior it is clear that the crowning elements | | and also in its interior it is clear that the crowning elements |
| 28 | | 28 |
| have all been added-perhaps to give the clock an added | | have all been added-perhaps to give the clock an added |
| attraction for the duke of Hamilton who was obsessively | | attraction for the duke of Hamilton who was obsessively |
| interested in royal finilies. The bolts and fixtures inside this | | interested in royal finilies. The bolts and fixtures inside this |
| part of the case are distinctive, improvised, and of more recent | | part of the case are distinctive, improvised, and of more recent |
| date than the others. Outside, the colour of the Slding, when | | date than the others. Outside, the colour of the Slding, when |
| sccn in a strong light, is not the same as that of the main | | sccn in a strong light, is not the same as that of the main |
| body of the case. Above all, the oval waistcd socle behind the | | body of the case. Above all, the oval waistcd socle behind the |
| arins does not fit the top of the main case and fans to conceal | | arins does not fit the top of the main case and fans to conceal |
| the evidence of a former attachment to the front beside the | | the evidence of a former attachment to the front beside the |
| raised hand of the figure proper left. Although the lion is as | | raised hand of the figure proper left. Although the lion is as |
| well modelled and tooled as any other part of the case the | | well modelled and tooled as any other part of the case the |
| royal crown and the leaf capping on the socle behind it are | | royal crown and the leaf capping on the socle behind it are |
| thin, stamped, mass-produced ornaments. There is no room | | thin, stamped, mass-produced ornaments. There is no room |
| for a unicorn although one would certainly have been placed | | for a unicorn although one would certainly have been placed |
| here had the clock been designed with the royal arms. | | here had the clock been designed with the royal arms. |
| The attribution in the Hamilton Palace sale of the miniature | | The attribution in the Hamilton Palace sale of the miniature |
| of dancing Bacchanals to `Degault' was modified by Mallett | | of dancing Bacchanals to `Degault' was modified by Mallett |
| into `the manner of Degault' and accepted by the Museum | | into `the manner of Degault' and accepted by the Museum |
| in this form with Degault erroneously identified as `Picrre | | in this form with Degault erroneously identified as `Picrre |
| Marie Gault de Saint-Germain 1754-1842' (after Thieme- | | Marie Gault de Saint-Germain 1754-1842' (after Thieme- |
| Becker) instead of Jacques-Joseph de Gault or Degault | | Becker) instead of Jacques-Joseph de Gault or Degault |
| ( 1738-after 1812) (for whom, and for the confusion over | | ( 1738-after 1812) (for whom, and for the confusion over |
| names, see C. Jcannerat, `De Gault et Gault de Saint- | | names, see C. Jcannerat, `De Gault et Gault de Saint- |
| Gc;rmirn' , Bulletin de la Soci6t6 de lJhistoire de l'art frantais | | Gc;rmirn' , Bulletin de la Soci6t6 de lJhistoire de l'art frantais |
| ( 1935nd), 221-35). But the miniature is not in fact very close | | ( 1935nd), 221-35). But the miniature is not in fact very close |
| to work by this specialist in `le genre camee'. Degault did | | to work by this specialist in `le genre camee'. Degault did |
| sometimes employ a black ground but his inspiration was | | sometimes employ a black ground but his inspiration was |
| taken from antique gems and cameos, whereas the action of | | taken from antique gems and cameos, whereas the action of |
| the dancers recalls the murals discovered in 1749 at Torre | | the dancers recalls the murals discovered in 1749 at Torre |
| dcll' Annuziata, Pompeii-specially the composition of the | | dcll' Annuziata, Pompeii-specially the composition of the |
| `duc Ballatrici'-murals which were much copied and | | `duc Ballatrici'-murals which were much copied and |
| imitated in gouache by artists in Naples and Rome such as | | imitated in gouache by artists in Naples and Rome such as |
| Michelangelo Maestri. The modelling of the grey and cream | | Michelangelo Maestri. The modelling of the grey and cream |
| stipple is as subtle as the tiny touches of pinky terracotta | | stipple is as subtle as the tiny touches of pinky terracotta |
| colour are telling in the wreath of flowers and the rattles of | | colour are telling in the wreath of flowers and the rattles of |
| the castanet. Under magnification traces of gold are evident, | | the castanet. Under magnification traces of gold are evident, |
| especially in the fircone of the thyrsus. Grisaille painting of this | | especially in the fircone of the thyrsus. Grisaille painting of this |
| sort of subject was not unfiniliar in England in the late | | sort of subject was not unfiniliar in England in the late |
| eighteenth century (it is found on furniture, for example, the | | eighteenth century (it is found on furniture, for example, the |
| seasons painted in oval reserves in the corner commodes at | | seasons painted in oval reserves in the corner commodes at |
| the Lady Lever Art Gallery, Port Sunlight (H 279) ), but no | | the Lady Lever Art Gallery, Port Sunlight (H 279) ), but no |
| English artist worked in exactly this medium and mode with | | English artist worked in exactly this medium and mode with |
| such extraordinary finesse. | | such extraordinary finesse. |
| It is natural to suppose, as Mallctt did, that since the | | It is natural to suppose, as Mallctt did, that since the |
| movement is English, or at least signed by James Cox of | | movement is English, or at least signed by James Cox of |
| I.ondon, the ormolu would also be English. Such a point of | | I.ondon, the ormolu would also be English. Such a point of |
| view would bc reinforced by the fact that it is certainly not | | view would bc reinforced by the fact that it is certainly not |
| French. In French ormolu of the second half of the eighteenth | | French. In French ormolu of the second half of the eighteenth |
| century it would be most surprising to find such cracks and | | century it would be most surprising to find such cracks and |
| flaws-lso such rough and vigorous modelling and such | | flaws-lso such rough and vigorous modelling and such |
| exciting freedom in the tooling of the metal. In France such | | exciting freedom in the tooling of the metal. In France such |
| a work would also be cast in more pieces. Most obviously, | | a work would also be cast in more pieces. Most obviously, |
| the fish feet would be cast from the same moulds or pair of | | the fish feet would be cast from the same moulds or pair of |
| moulds (cf. No. 341 ), whereas here each is different and some | | moulds (cf. No. 341 ), whereas here each is different and some |
| are so distorted as to have only one eye. | | are so distorted as to have only one eye. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| The branches and ribbons, the quatrefoil pattern of the | | The branches and ribbons, the quatrefoil pattern of the |
| pierced side panels, the neat swag below the main dial, and | | pierced side panels, the neat swag below the main dial, and |
| the leaf mouldings framing the dials are all possible in French | | the leaf mouldings framing the dials are all possible in French |
| design of the period in which Cox worked, but not the fish, | | design of the period in which Cox worked, but not the fish, |
| the double clam sheus behind their linked tails, the bold | | the double clam sheus behind their linked tails, the bold |
| scrolls, and the general balloon shape. The fish, shells, and | | scrolls, and the general balloon shape. The fish, shells, and |
| scrolls derive directly from Bernini and the designer of this | | scrolls derive directly from Bernini and the designer of this |
| must surely have bccn an Itahan or an artist whose taste was | | must surely have bccn an Itahan or an artist whose taste was |
| formed in Italy where the work of Bernini and his school | | formed in Italy where the work of Bernini and his school |
| continued to be esteemed and imitated until the close of the | | continued to be esteemed and imitated until the close of the |
| eighteenth century. | | eighteenth century. |
| This blend of the baroque and nco-classicism is | | This blend of the baroque and nco-classicism is |
| characteristic of Sir William Chambers ( an observation I owe | | characteristic of Sir William Chambers ( an observation I owe |
| to Charles Truman), especially if one considers his State | | to Charles Truman), especially if one considers his State |
| Coach. However, the clocks actually made to his designs by | | Coach. However, the clocks actually made to his designs by |
| Matthew Boulton's craftsmen are neat architectural pieces not | | Matthew Boulton's craftsmen are neat architectural pieces not |
| vigorous sculptural ones. The figures are similar to those that | | vigorous sculptural ones. The figures are similar to those that |
| one finds in the sculpture of Joseph Wilton (who sometimes | | one finds in the sculpture of Joseph Wilton (who sometimes |
| collaborated with Chambers) and of Joseph Nollckens (who | | collaborated with Chambers) and of Joseph Nollckens (who |
| is known to have made a bust of Catherine the Great for | | is known to have made a bust of Catherine the Great for |
| James Cox). Against the idea that the case was made in | | James Cox). Against the idea that the case was made in |
| Entland is the miniature (although this could have been | | Entland is the miniature (although this could have been |
| imported), the absence of comparable English ormolu, and | | imported), the absence of comparable English ormolu, and |
| the existence of a porcelain clock in the Victoria and Albert | | the existence of a porcelain clock in the Victoria and Albert |
| Museum (3645 and 3645a-1856) obviously modelled on this | | Museum (3645 and 3645a-1856) obviously modelled on this |
| one which is supposed by experts to be from an Italian factory | | one which is supposed by experts to be from an Italian factory |
| (or, as John Mauett has proposed, from the Buen Retiro | | (or, as John Mauett has proposed, from the Buen Retiro |
| factory, Madrid, which had many links with Italy). | | factory, Madrid, which had many links with Italy). |
| James Cox, whose name appears on the clock, was | | James Cox, whose name appears on the clock, was |
| established at the Golden Urn, Racquet Court, Fleet St, | | established at the Golden Urn, Racquet Court, Fleet St, |
| I.ondon, by 1749. By 1751 his rococo trade card was | | I.ondon, by 1749. By 1751 his rococo trade card was |
| announcing in three languages that James Cox, `Goldsmith | | announcing in three languages that James Cox, `Goldsmith |
| . . . makes great variety of curious work in gold, silver and | | . . . makes great variety of curious work in gold, silver and |
| other metals; also in amber, pearl, tortoiseshell and curious | | other metals; also in amber, pearl, tortoiseshell and curious |
| stones', and was also a dealer-`N.B. Buys gold, silver, curious | | stones', and was also a dealer-`N.B. Buys gold, silver, curious |
| stones, amber, jewels and curiosities'. He moved to Shoe | | stones, amber, jewels and curiosities'. He moved to Shoe |
| Lane and formed a partnership with an Edward Grace 1756- | | Lane and formed a partnership with an Edward Grace 1756- |
| 9, but little otherwise is known of him before 1769 when he | | 9, but little otherwise is known of him before 1769 when he |
| acquired the Chelsca porcelain factory fi.om Nicolas Sprimont. | | acquired the Chelsca porcelain factory fi.om Nicolas Sprimont. |
| This hc sold, after a very short period, in 1770. In 1772 he | | This hc sold, after a very short period, in 1770. In 1772 he |
| opened a museum of his jewelled automata-flute-playing | | opened a museum of his jewelled automata-flute-playing |
| Chinamen and gemstone flies and flowers, and so on-at | | Chinamen and gemstone flies and flowers, and so on-at |
| Spring Gardens, for which a descriptive catalogue was | | Spring Gardens, for which a descriptive catalogue was |
| published, and in May of the following year a Bill was passed | | published, and in May of the following year a Bill was passed |
| in Parliament enabling him to sell his `magnificent pieces of | | in Parliament enabling him to sell his `magnificent pieces of |
| mechanism and jcwellery' by lottery. The catalogue for this | | mechanism and jcwellery' by lottery. The catalogue for this |
| also survives in the preface for which hc supplies a defence of | | also survives in the preface for which hc supplies a defence of |
| luxury, claiming that his exports `havc brought more than | | luxury, claiming that his exports `havc brought more than |
| half a million sterling to the port of I.ondon within the last | | half a million sterling to the port of I.ondon within the last |
| seven years' and pointing out the `grcat number of artists | | seven years' and pointing out the `grcat number of artists |
| and workmen he cmployed'. He was declared bankrupt in | | and workmen he cmployed'. He was declared bankrupt in |
| November 1778. Claire I.e Corbelher (in `James Cox: A | | November 1778. Claire I.e Corbelher (in `James Cox: A |
| Biographical Review', B#7i/z.7g;gro7£ A4l¢g¢zG.»c (June 1970 ), | | Biographical Review', B#7i/z.7g;gro7£ A4l¢g¢zG.»c (June 1970 ), |
| 35lnd), from whom the above facts arc derived, points out | | 35lnd), from whom the above facts arc derived, points out |
| the common stylistic denominators in the extant pieces which | | the common stylistic denominators in the extant pieces which |
| Cox is known to have supplied-hicfly miniature boxes and | | Cox is known to have supplied-hicfly miniature boxes and |
| commodes with symmetrical rococo ornament in gold | | commodes with symmetrical rococo ornament in gold |
| involving clockwork and jewels and hardstones-and they | | involving clockwork and jewels and hardstones-and they |
| certainly have nothing in common with the clock in the | | certainly have nothing in common with the clock in the |
| Ashmolean. On the other hand Cox must have handled many | | Ashmolean. On the other hand Cox must have handled many |
| items which were not in this `housc style' and the clock is on | | items which were not in this `housc style' and the clock is on |
| a different scale. There is evidence of Cox's interest in ormolu | | a different scale. There is evidence of Cox's interest in ormolu |
| in larger works, a marble chimney-piece `inlald with ormolu' | | in larger works, a marble chimney-piece `inlald with ormolu' |
| is described by William Hickcy, and Cox's acquisition of the | | is described by William Hickcy, and Cox's acquisition of the |
| Chelsea porcelain factory may have been associated with | | Chelsea porcelain factory may have been associated with |
| schemes for providing omolu mounts for porcelain (ibid. | | schemes for providing omolu mounts for porcelain (ibid. |
| n | | n | @@PROCESS |
| 351-2). | | 351-2). |
| The ormolu clock, if made in England, would be likely to | | The ormolu clock, if made in England, would be likely to |
| have been designed for export to a foreign court-Cox, as | | have been designed for export to a foreign court-Cox, as |
| we have seen, emphasized his export business and he seems | | we have seen, emphasized his export business and he seems |
| to have made his most remarkable automata as diplomatic | | to have made his most remarkable automata as diplomatic |
| Sfts for the merchant companies to present to exotic | | Sfts for the merchant companies to present to exotic |
| potentates, the Chinese emperor in particular. If taken or | | potentates, the Chinese emperor in particular. If taken or |
| sent to Naples that would explain the miniature and it would | | sent to Naples that would explain the miniature and it would |
| also have been accessible there to designers of the Buen | | also have been accessible there to designers of the Buen |
| Retiro porcelain factory who might have been responsible for | | Retiro porcelain factory who might have been responsible for |
| the clock now in the Victoria and Albert Museum. | | the clock now in the Victoria and Albert Museum. |
| This porcelain version of the clock has, no subsidiary dials | | This porcelain version of the clock has, no subsidiary dials |
| and no miniature. These differences however were no doubt | | and no miniature. These differences however were no doubt |
| conditioned by factors beyond the control of the designer | | conditioned by factors beyond the control of the designer |
| who, in other rcspccts, tried to follow the ormolu example | | who, in other rcspccts, tried to follow the ormolu example |
| closely. There is good reason therefore to suppose that the | | closely. There is good reason therefore to suppose that the |
| stand for the porcelain clock with concave sides provides an | | stand for the porcelain clock with concave sides provides an |
| accurate idea of one which was origivally a part of the ormolu | | accurate idea of one which was origivally a part of the ormolu |
| clock, and also that the seated figure of Time on the top is | | clock, and also that the seated figure of Time on the top is |
| copied from such a figure origivally crowning the ormolu | | copied from such a figure origivally crowning the ormolu |
| clock. (The positions of Time's ovcrhangivg feet correspond | | clock. (The positions of Time's ovcrhangivg feet correspond |
| with places on the top of the clock to which attachments were | | with places on the top of the clock to which attachments were |
| origivally made. ) As it stands at present the attitudes of the | | origivally made. ) As it stands at present the attitudes of the |
| figures in the ormolu version make no sense, but in the | | figures in the ormolu version make no sense, but in the |
| porcelain version it is possible to see that they must have been | | porcelain version it is possible to see that they must have been |
| holding, or at least indicating, attributes, or an attribute, just | | holding, or at least indicating, attributes, or an attribute, just |
| passed to, or taken from, Time. What was intended would | | passed to, or taken from, Time. What was intended would |
| be casicr to guess if we knew what the figures pcrsonificd. In | | be casicr to guess if we knew what the figures pcrsonificd. In |
| the ormolu version there is a portion of a rudder with a bird's | | the ormolu version there is a portion of a rudder with a bird's |
| head terminal ornament peeping out beside the breast of the | | head terminal ornament peeping out beside the breast of the |
| figure proper left ( something omitted in the porcelain | | figure proper left ( something omitted in the porcelain |
| version). This is an attribute commonly given to Fortune and | | version). This is an attribute commonly given to Fortune and |
| sometimes to Abundance. And yet the seated figure of Time | | sometimes to Abundance. And yet the seated figure of Time |
| on the porcelain clock poses an additional problem. It is | | on the porcelain clock poses an additional problem. It is |
| closely dcrivcd from a model, probably origivally designed as | | closely dcrivcd from a model, probably origivally designed as |
| part of a group involving the Fates, piece-moulds of which | | part of a group involving the Fates, piece-moulds of which |
| survive in the Museum of the Ginori porcelain factory at | | survive in the Museum of the Ginori porcelain factory at |
| Doccia. Documents show that Vincenzo Fogdni was paid to | | Doccia. Documents show that Vincenzo Fogdni was paid to |
| make waxes of this figure in 1725 and it was incorporated in | | make waxes of this figure in 1725 and it was incorporated in |
| the great allegorical ensemble alorifying the Medici made of | | the great allegorical ensemble alorifying the Medici made of |
| Doccia porcelain in 1757 (K. Lankhcit, D;G 44lode//f¢7"7"/#"g | | Doccia porcelain in 1757 (K. Lankhcit, D;G 44lode//f¢7"7"/#"g |
| her Porz,ellanmanuf aktttr Doccia (M:un!+ch, L982), +60, | | her Porz,ellanmanuf aktttr Doccia (M:un!+ch, L982), +60, |
| pl. 223, no. 87; also colour plate I). It had first been used as | | pl. 223, no. 87; also colour plate I). It had first been used as |
| a gilt bronze figure crowning a clock of ebony and P¢.c£7ic d#rG | | a gilt bronze figure crowning a clock of ebony and P¢.c£7ic d#rG |
| now in the Bulgari Couection in Rome for which there are | | now in the Bulgari Couection in Rome for which there are |
| drawings by Giovanni-Battista Fogdni in the Uffizi dated to | | drawings by Giovanni-Battista Fogdni in the Uffizi dated to |
| ±7+3-18. (A. Gonz6lez-Pa+a[ctos,11 tempio delgttsto (In | | ±7+3-18. (A. Gonz6lez-Pa+a[ctos,11 tempio delgttsto (In |
| Toscana e l'Italia settantrionale), 2 vo\s. (M:flan, 1986), i. 44 | | Toscana e l'Italia settantrionale), 2 vo\s. (M:flan, 1986), i. 44 |
| and ii, fig. 89.) | | and ii, fig. 89.) |
| 29 | | 29 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Perhaps Buen Rctiro factory, Porcelain Clock. | | Perhaps Buen Rctiro factory, Porcelain Clock. |
| Victoria and Albert Museum, I.ondon | | Victoria and Albert Museum, I.ondon |
| 31 | | 31 |
| BRITISH SCULI'TURES, BY ARTIST'S NAME | | BRITISH SCULI'TURES, BY ARTIST'S NAME |
| `G.C.D.' (dates unknown) | | `G.C.D.' (dates unknown) |
| n | | n | @@PROCESS |
| 466. Profile medallion bust portrait | | 466. Profile medallion bust portrait |
| of Sammy Woods | | of Sammy Woods |
| 32 cms. (height); 28.5 cms, (width) | | 32 cms. (height); 28.5 cms, (width) |
| Bronze with a dark brown dull patina. Sand cast. The reverse is | | Bronze with a dark brown dull patina. Sand cast. The reverse is |
| hollow. The initials `G.C.D.' are chiselled to proper left beside the | | hollow. The initials `G.C.D.' are chiselled to proper left beside the |
| neck. There are four attachment points for bolts in the reverse which | | neck. There are four attachment points for bolts in the reverse which |
| is painted with coarse capital letters in black `sAMMy / wooDs'. | | is painted with coarse capital letters in black `sAMMy / wooDs'. |
| The bronze has been kept in the Hebcrdcn Coin Room as part of | | The bronze has been kept in the Hebcrdcn Coin Room as part of |
| the vast collection, mostly of British medals, purchased from Colonel | | the vast collection, mostly of British medals, purchased from Colonel |
| Michael H. Grant in 1953. The crude lettering is Grant's, but I | | Michael H. Grant in 1953. The crude lettering is Grant's, but I |
| have not traced this item in his manuscript catalogue. | | have not traced this item in his manuscript catalogue. |
| It is assumed that `G.C.D.' are the initials of the artist and | | It is assumed that `G.C.D.' are the initials of the artist and |
| that Sammy Woods is the name of the sitter. It has not been | | that Sammy Woods is the name of the sitter. It has not been |
| possible to identify a sculptor with these initials working in | | possible to identify a sculptor with these initials working in |
| the 1920s or 1930s. He or she may well have been an | | the 1920s or 1930s. He or she may well have been an |
| amateur: the sculpture is certainly of poor quality and very | | amateur: the sculpture is certainly of poor quality and very |
| poorly cast. | | poorly cast. |
| The Hon. Anne Seymour DAMER ( 1748-1828) | | The Hon. Anne Seymour DAMER ( 1748-1828) |
| n | | n | @@PROCESS |
| 467. Bust portrait of prince Henry | | 467. Bust portrait of prince Henry |
| Lubomirski in the character of | | Lubomirski in the character of |
| Bacchus | | Bacchus |
| 54 cms. (height, including integral socle and plinth); 25 cms. | | 54 cms. (height, including integral socle and plinth); 25 cms. |
| (length of plinth); 23 cms. (width of plinth) | | (length of plinth); 23 cms. (width of plinth) |
| Carrara marble. Intcgra.I base and plinth. Small chips; the corner of | | Carrara marble. Intcgra.I base and plinth. Small chips; the corner of |
| the plinth repaired with plaster. The following letters, on the side | | the plinth repaired with plaster. The following letters, on the side |
| of the base to proper left, are chiselled with a distinctive drill-hole | | of the base to proper left, are chiselled with a distinctive drill-hole |
| at the termination of each stroke: AIVIVA 2JEJA40PJZ / | | at the termination of each stroke: AIVIVA 2JEJA40PJZ / |
| 4£4A4EP / EJ70JE/ [Anne Seymour Damer fecit]. | | 4£4A4EP / EJ70JE/ [Anne Seymour Damer fecit]. |
| Transferred `on revocabledcposit' from the Bodleian hibrary in | | Transferred `on revocabledcposit' from the Bodleian hibrary in |
| 1897 (authorized by Convocation 16 February 1897; received by | | 1897 (authorized by Convocation 16 February 1897; received by |
| Museum 25 February). The bust was in the Bodleian Gallery | | Museum 25 February). The bust was in the Bodleian Gallery |
| according to James Dallaway in a footnote to his `Advertisement' | | according to James Dallaway in a footnote to his `Advertisement' |
| [Preface] to the 1826 edition of Horace Walpolc's A„ccdofGf a/ | | [Preface] to the 1826 edition of Horace Walpolc's A„ccdofGf a/ |
| P#¢.»f¢.„g ¢." E»g/¢„¢. Exhibited at the Royal Academy in 1788 as | | P#¢.»f¢.„g ¢." E»g/¢„¢. Exhibited at the Royal Academy in 1788 as |
| no. 607 (`Head of a boy in the character of Bacchus; marble'). An | | no. 607 (`Head of a boy in the character of Bacchus; marble'). An |
| engraving in stipple by John Jones after a drawing by James Roberts | | engraving in stipple by John Jones after a drawing by James Roberts |
| was published by the same engraver and draftsman togcthcr on 26 | | was published by the same engraver and draftsman togcthcr on 26 |
| June 1790, the former with an Oxford address (Hogarth's Passage), | | June 1790, the former with an Oxford address (Hogarth's Passage), |
| apparently previous to its acquisition by the University. In the 1960s | | apparently previous to its acquisition by the University. In the 1960s |
| the bust was displayed in the Chambers Hall Room near the | | the bust was displayed in the Chambers Hall Room near the |
| Nollekcns of Mrs Howard (No. 557). I.ong in reserve, it was placed | | Nollekcns of Mrs Howard (No. 557). I.ong in reserve, it was placed |
| in the Director's office in 1985. | | in the Director's office in 1985. |
| The Greek lettering on the marble is less pretentious than | | The Greek lettering on the marble is less pretentious than |
| might be supposed, since Horace Walpolc noted of his | | might be supposed, since Horace Walpolc noted of his |
| protege that she `writes Ijatin like Pliny and is learning Greek | | protege that she `writes Ijatin like Pliny and is learning Greek |
| . . .'. In addition, having been taught marble carving by John | | . . .'. In addition, having been taught marble carving by John |
| Bacon, she was introduced by another admirer, the | | Bacon, she was introduced by another admirer, the |
| connoisseur, collector, and Greek scholar Richard Paync | | connoisseur, collector, and Greek scholar Richard Paync |
| Knight, to the principle that the ancient Greeks had always | | Knight, to the principle that the ancient Greeks had always |
| been responsible for the final execution of their work, in | | been responsible for the final execution of their work, in |
| marble and bronze, as well as for the preliminary modelling, | | marble and bronze, as well as for the preliminary modelling, |
| valuing the tooling which gave vitalty to the surface of the | | valuing the tooling which gave vitalty to the surface of the |
| sculpture. Thus the Greek lettering may have a somewhat self-rightcous., | | sculpture. Thus the Greek lettering may have a somewhat self-rightcous., |
| even polemical, point. The marble is everywhere | | even polemical, point. The marble is everywhere |
| enlivened by traces of the rasp. | | enlivened by traces of the rasp. |
| Prince Henry ( 1777-1850), son of Duke )osef Lubomirski | | Prince Henry ( 1777-1850), son of Duke )osef Lubomirski |
| and Ludwika Sosnowskich of Poland, was adopted at the age | | and Ludwika Sosnowskich of Poland, was adopted at the age |
| of 6 by his wealthy, art-loving, and childless aunt, the Duchess | | of 6 by his wealthy, art-loving, and childless aunt, the Duchess |
| Isabella Czartoryskich Lubomirska. Infatuated with his | | Isabella Czartoryskich Lubomirska. Infatuated with his |
| beauty, she paraded him in high society in several European | | beauty, she paraded him in high society in several European |
| cities and had him immortalLcd by many of the leading artists | | cities and had him immortalLcd by many of the leading artists |
| of the day. The prince was painted by Fricdrich-Hcinrich | | of the day. The prince was painted by Fricdrich-Hcinrich |
| Ftigcr, Angelica Kauffmann, Grcuzc (three times-see the | | Ftigcr, Angelica Kauffmann, Grcuzc (three times-see the |
| entry for lot 167 in the catalogue of Sotheby's New York sale | | entry for lot 167 in the catalogue of Sotheby's New York sale |
| 4 June 1987), and Elizabeth Vigee-Lebrun (as Eros, in a | | 4 June 1987), and Elizabeth Vigee-Lebrun (as Eros, in a |
| painting now in the Staatliche Museen, Benin-Dahlcm), and | | painting now in the Staatliche Museen, Benin-Dahlcm), and |
| was portrayed by Canova (also as Eros in a statue at Anglcsey | | was portrayed by Canova (also as Eros in a statue at Anglcsey |
| Abbey near Cambridge and in another version at Lancut). | | Abbey near Cambridge and in another version at Lancut). |
| Prince Henry and his aunt were in Ijondon between May | | Prince Henry and his aunt were in Ijondon between May |
| and July 1787 and this would seem to have been the most | | and July 1787 and this would seem to have been the most |
| likely date for the sittings for the bust portrait, although Mrs | | likely date for the sittings for the bust portrait, although Mrs |
| Damer could have travelled to Paris later in the year. (See M. | | Damer could have travelled to Paris later in the year. (See M. |
| Paskicwicz in %#2;G#% Po/j:leg.G ( 1977), 2/1 (VI), 23-31.) If, | | Paskicwicz in %#2;G#% Po/j:leg.G ( 1977), 2/1 (VI), 23-31.) If, |
| as was likely, Damer's marble bust formed part of Isabeua's | | as was likely, Damer's marble bust formed part of Isabeua's |
| collections it would have been removed by her to Lancut in | | collections it would have been removed by her to Lancut in |
| 1791. The prince bccanc first curator of the Ossolineum | | 1791. The prince bccanc first curator of the Ossolineum |
| Institute in Lvov, a libray which also printed scholarly | | Institute in Lvov, a libray which also printed scholarly |
| editions of the classics. This may wcu have involved him in an | | editions of the classics. This may wcu have involved him in an |
| association with the Bodleian Library. | | association with the Bodleian Library. |
| MrsDanerwaspartialtoportraitureofthistype.HcrBoy | | MrsDanerwaspartialtoportraitureofthistype.HcrBoy |
| ¢f "G~c#ey was cxhibitcd at the Royal Academy in 1787 | | ¢f "G~c#ey was cxhibitcd at the Royal Academy in 1787 |
| (no. 625); she showed a C»G.% ¢f P¢z¢.I in 1788 along with | | (no. 625); she showed a C»G.% ¢f P¢z¢.I in 1788 along with |
| this bust (no. 599); in the following year her 777¢/¢.a (no. | | this bust (no. 599); in the following year her 777¢/¢.a (no. |
| n | | n | @@PROCESS |
| 585, National Portrait Ganery 4469) was in fact a portrait of | | 585, National Portrait Ganery 4469) was in fact a portrait of |
| the actress Etiza Farren; and her bust of Mrs Freeman as Isis | | the actress Etiza Farren; and her bust of Mrs Freeman as Isis |
| ofc.1790(VictoriaandAlbertMuseun,A.31-1931)includes | | ofc.1790(VictoriaandAlbertMuseun,A.31-1931)includes |
| a sistnim on the soclc placed at an ande like the rty7J%J on | | a sistnim on the soclc placed at an ande like the rty7J%J on |
| Prince Hcnry's. Her work is not much varied and the blank | | Prince Hcnry's. Her work is not much varied and the blank |
| expression, limited portion of the chest, frontal presentation, | | expression, limited portion of the chest, frontal presentation, |
| andinchiationoftheheadfoundinthisworkaretypicalof | | andinchiationoftheheadfoundinthisworkaretypicalof |
| most of her portrait sculpture (the marble self-portrait | | most of her portrait sculpture (the marble self-portrait |
| presented to RIchard Paync REight and bequeathed to the | | presented to RIchard Paync REight and bequeathed to the |
| British Museum togcthcr with his antique sculpture is | | British Museum togcthcr with his antique sculpture is |
| cspeciallyclose).Somcofthcscformalcharacteristicsmayhave | | cspeciallyclose).Somcofthcscformalcharacteristicsmayhave |
| bcendcterminedbythcdisplayofthcbustsonhighchimneyL | | bcendcterminedbythcdisplayofthcbustsonhighchimneyL |
| pieces. The observation of her fiend and admirer Thomas | | pieces. The observation of her fiend and admirer Thomas |
| Hn=F_i.i.th=P.refac.eto_±s_Houscho|dFuini-;u=e--a;;V|`tLt-e%or | | Hn=F_i.i.th=P.refac.eto_±s_Houscho|dFuini-;u=e--a;;V|`tLt-e%or |
| DGcoz¢£¢.o»((London,1807),47)isalsorelevant:`theGrecian | | DGcoz¢£¢.o»((London,1807),47)isalsorelevant:`theGrecian |
| method of cutting the chest square, and placing its whole | | method of cutting the chest square, and placing its whole |
| mass immediately on a tcm or other solid support-, seems | | mass immediately on a tcm or other solid support-, seems |
| muchpreferabletothemorcprcvalingoneoffinishingor | | muchpreferabletothemorcprcvalingoneoffinishingor |
| roundingoffthatchest,andbalancingitscenteronlyona | | roundingoffthatchest,andbalancingitscenteronlyona |
| slender and tottering pivot'. | | slender and tottering pivot'. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| James S. DEVILLE ( 1776-1846) | | James S. DEVILLE ( 1776-1846) |
| n | | n | @@PROCESS |
| 468. Bust portrait of John Shute | | 468. Bust portrait of John Shute |
| Duncan | | Duncan |
| 69 cms. (height) | | 69 cms. (height) |
| Plaster of Paris, painted yellow (not shellac and not absorbed by the | | Plaster of Paris, painted yellow (not shellac and not absorbed by the |
| plaster). Hollow cast in two parts: the socle is separately cast and | | plaster). Hollow cast in two parts: the socle is separately cast and |
| attached. `|. DEVILLE F'r PUBD March 18 1825' is incised in the model | | attached. `|. DEVILLE F'r PUBD March 18 1825' is incised in the model |
| across the back of the bust above the hollow. `TOHN SHUTE DUNCAN. | | across the back of the bust above the hollow. `TOHN SHUTE DUNCAN. |
| M.A. / KEEPER oF ASHMOLE'S MUSEUM / died 1844' is painted in | | M.A. / KEEPER oF ASHMOLE'S MUSEUM / died 1844' is painted in |
| black in the hollow of the soclc. A portion of the back of the socle | | black in the hollow of the soclc. A portion of the back of the socle |
| to proper right has been broken off and lost. | | to proper right has been broken off and lost. |
| Presumably presented to the Ashmolean Museum in the mid-nineteenth | | Presumably presented to the Ashmolean Museum in the mid-nineteenth |
| century. Possibly once in the Radcliffe Camera. | | century. Possibly once in the Radcliffe Camera. |
| John Shute Duncan ( 1769-1844) was unanimously elected | | John Shute Duncan ( 1769-1844) was unanimously elected |
| Keeper of the Ashmolcan on 17 November 1823. He | | Keeper of the Ashmolcan on 17 November 1823. He |
| undertook a thorough reorganization of the Museum, | | undertook a thorough reorganization of the Museum, |
| initiating building work, extensive redccoration, relabelling, | | initiating building work, extensive redccoration, relabelling, |
| cleaning, and conservation: the Eskimo dresses wcrc washed | | cleaning, and conservation: the Eskimo dresses wcrc washed |
| and the crocodiles varnishcd. Many new benefactions were | | and the crocodiles varnishcd. Many new benefactions were |
| elicited by him and hc himself gave numerous zooloScal | | elicited by him and hc himself gave numerous zooloScal |
| specimens to the Museum. When he married in 1829 he | | specimens to the Museum. When he married in 1829 he |
| resigned the Keepership. He was awarded an Hon. DCL in | | resigned the Keepership. He was awarded an Hon. DCL in |
| the following year. By then his brother Phihp Bury Duncan | | the following year. By then his brother Phihp Bury Duncan |
| had been elected as his successor (R. F. Ovencll, T%e | | had been elected as his successor (R. F. Ovencll, T%e |
| j4j¢owo/e¢" M#JG#ow J683-1894 (Oxford, 1986), 189-98). | | j4j¢owo/e¢" M#JG#ow J683-1894 (Oxford, 1986), 189-98). |
| Deviue was a plaster figure maker of Newport Strcct, Soho. | | Deviue was a plaster figure maker of Newport Strcct, Soho. |
| He had acted as an assistant to Nollekens and purchased that | | He had acted as an assistant to Nollekens and purchased that |
| artist's moulds. He also practised as an origival sculptor. The | | artist's moulds. He also practised as an origival sculptor. The |
| GG"#/Gow¢~'J M¢g¢2;¢.„e, noting his death ( 1846, 2: 104) | | GG"#/Gow¢~'J M¢g¢2;¢.„e, noting his death ( 1846, 2: 104) |
| described him as a `lamp manufacturcr' and a `phrcnoloSst' | | described him as a `lamp manufacturcr' and a `phrcnoloSst' |
| as well-the lamps were doubtless cast plaster figures holding | | as well-the lamps were doubtless cast plaster figures holding |
| lampsandthephrenologywasperhapsconnectedwithmaking | | lampsandthephrenologywasperhapsconnectedwithmaking |
| casts of heads. It may be that Duncan came into contact with | | casts of heads. It may be that Duncan came into contact with |
| Devi]1e because of some casts (including the APo/Zo BG/pcde7iG | | Devi]1e because of some casts (including the APo/Zo BG/pcde7iG |
| and the D;Jcofo/#f) which he and his brother presented to | | and the D;Jcofo/#f) which he and his brother presented to |
| the Bddcliffe Camera (Ovencll, op. cit. 189). According to R | | the Bddcliffe Camera (Ovencll, op. cit. 189). According to R |
| Gunnis, Dictionary Of ` British Sculptors (.London, +968), \30.. | | Gunnis, Dictionary Of ` British Sculptors (.London, +968), \30.. |
| a bust of Duncan by Deville was in the Radcliffe Camera, and | | a bust of Duncan by Deville was in the Radcliffe Camera, and |
| a it may be that this bust was origivally there. | | a it may be that this bust was origivally there. |
| 34 | | 34 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Sir William Reid DICK Kcvo, RA ( 1879-1961 ) | | Sir William Reid DICK Kcvo, RA ( 1879-1961 ) |
| n | | n | @@PROCESS |
| 469. Crouching female nude | | 469. Crouching female nude |
| 23.2 cms. (height); 13.3 cms. (length of base) | | 23.2 cms. (height); 13.3 cms. (length of base) |
| Chalk. Incised on the rock base `W. Reid Dick/ 1916 / Cabaret | | Chalk. Incised on the rock base `W. Reid Dick/ 1916 / Cabaret |
| Rouge / Souchez' with a scparatc label `Carved out of Chalk / in | | Rouge / Souchez' with a scparatc label `Carved out of Chalk / in |
| the Trenches of/ the Vimy RIdge / 1916 / By W. Reid Dick'. | | the Trenches of/ the Vimy RIdge / 1916 / By W. Reid Dick'. |
| Bequeathed by Major Thomas Bouch, Master of the Bclvoir Hunt. | | Bequeathed by Major Thomas Bouch, Master of the Bclvoir Hunt. |
| Bouch, who had been an undergraduate at Magdalen 1901-3, died | | Bouch, who had been an undergraduate at Magdalen 1901-3, died |
| on I May 1963. In his will, communicated by his solicitors on 13 | | on I May 1963. In his will, communicated by his solicitors on 13 |
| May, he wrote of his desire to bequeath to Oxford University his | | May, he wrote of his desire to bequeath to Oxford University his |
| I.abrador quartz specimen table and `also my nude female figure | | I.abrador quartz specimen table and `also my nude female figure |
| carved by Reid Dick out of the chalk of the trenches of the Vimy | | carved by Reid Dick out of the chalk of the trenches of the Vimy |
| RIdge in World War 1914-18 when he himself was in the second | | RIdge in World War 1914-18 when he himself was in the second |
| reserve line of trenches. He told me he persuaded a boy in the | | reserve line of trenches. He told me he persuaded a boy in the |
| Kensington Regiment to pose for him.' Bouch also wanted Oxford | | Kensington Regiment to pose for him.' Bouch also wanted Oxford |
| to have `all my pictures or such of them as the Directors of the | | to have `all my pictures or such of them as the Directors of the |
| Museum may select'. Some of the paintings were accepted and | | Museum may select'. Some of the paintings were accepted and |
| others were sold to establish an acquisitions fund. On the | | others were sold to establish an acquisitions fund. On the |
| Department's copy of the probate inventory of Ashome, Warwicks., | | Department's copy of the probate inventory of Ashome, Warwicks., |
| Major Bouch's home, the chalk figure is mentioned by Robertson | | Major Bouch's home, the chalk figure is mentioned by Robertson |
| as something the deceased had particularly wished to be preserved. | | as something the deceased had particularly wished to be preserved. |
| Oddly, and no doubt in error, it is not listed on the receipt of 20 | | Oddly, and no doubt in error, it is not listed on the receipt of 20 |
| November 1963. | | November 1963. |
| The story of the boy model mentioned by Bouch in his will | | The story of the boy model mentioned by Bouch in his will |
| is peculiar. He must have had the most astonishing hips and | | is peculiar. He must have had the most astonishing hips and |
| buttocks. Another model may have been found in the | | buttocks. Another model may have been found in the |
| mysterious `Cabaret Rouge'. The inspiration is obviously the | | mysterious `Cabaret Rouge'. The inspiration is obviously the |
| fcmalcs in similar postures in the work of Rodin. | | fcmalcs in similar postures in the work of Rodin. |
| 35 | | 35 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably foundry of Alessandro Parlanti, Parson's Green, | | Probably foundry of Alessandro Parlanti, Parson's Green, |
| Fulham | | Fulham |
| After Sir Wihiam Reid DICK Kcvo, RA ( 1879-1961) | | After Sir Wihiam Reid DICK Kcvo, RA ( 1879-1961) |
| n | | n | @@PROCESS |
| 470. The Catapult | | 470. The Catapult |
| 31.25 cms. (height of bronze); 2. I cms. (height of plinth); | | 31.25 cms. (height of bronze); 2. I cms. (height of plinth); |
| 11.10 cms. (length of plinth); 7. I cms. (width of plinth) | | 11.10 cms. (length of plinth); 7. I cms. (width of plinth) |
| Bronze with a dark green-brown patina tending to a warmer brown | | Bronze with a dark green-brown patina tending to a warmer brown |
| at the naturalistic base. Hollow, lost-wax, cast. Incised `W. Reid | | at the naturalistic base. Hollow, lost-wax, cast. Incised `W. Reid |
| Dick' in the model on a projection at the back of the naturalistic | | Dick' in the model on a projection at the back of the naturalistic |
| base to proper left of the boy's left foot. Bolted to a plinth of Siena | | base to proper left of the boy's left foot. Bolted to a plinth of Siena |
| yellow marble with mauve and white veins. | | yellow marble with mauve and white veins. |
| Bequeathed by the Revd J. W. R. Brocklcbank in November 1926. | | Bequeathed by the Revd J. W. R. Brocklcbank in November 1926. |
| No.16 on Andrew Shirley's receipt of January 1927 as `Nude boy | | No.16 on Andrew Shirley's receipt of January 1927 as `Nude boy |
| drawing a catapult'. | | drawing a catapult'. |
| The figure was exhibited by Reid Dick at the Royal Academy | | The figure was exhibited by Reid Dick at the Royal Academy |
| in 1911 as a bronze statuette about 2 ft tall. This cast is now | | in 1911 as a bronze statuette about 2 ft tall. This cast is now |
| in Bradford City Art Gallery and Museum, Cartwright Hall, | | in Bradford City Art Gallery and Museum, Cartwright Hall, |
| and other casts this size exist (one was in a private collection | | and other casts this size exist (one was in a private collection |
| in Oxford). Half-size casts such as this example are abundant | | in Oxford). Half-size casts such as this example are abundant |
| and arc often mounted on similar Siena yellow marble plinths, | | and arc often mounted on similar Siena yellow marble plinths, |
| with slightly rounded corners, as in this case. Praised by H. | | with slightly rounded corners, as in this case. Praised by H. |
| Granville Fell in his little book on the artist as `a well-balanced, | | Granville Fell in his little book on the artist as `a well-balanced, |
| tense figure, precise in modelling and displaying assured | | tense figure, precise in modelling and displaying assured |
| scholarship throughout' (RG¢.¢ D;cfe (Ijondon,1945), pl. 2), | | scholarship throughout' (RG¢.¢ D;cfe (Ijondon,1945), pl. 2), |
| it recalls elements of both the two most famous of Leighton's | | it recalls elements of both the two most famous of Leighton's |
| sculptures (Nos. 532-3). | | sculptures (Nos. 532-3). |
| The founder of most casts of the C¢£¢P#/£ was John | | The founder of most casts of the C¢£¢P#/£ was John |
| (Giovanni) Gahzia. He came to England from Sicily in 1912 | | (Giovanni) Gahzia. He came to England from Sicily in 1912 |
| and worked for Parlanti where he became foreman. Like his | | and worked for Parlanti where he became foreman. Like his |
| Italian contemporaries Mancini and Giovanni Fiorini, who | | Italian contemporaries Mancini and Giovanni Fiorini, who |
| were also employed by Parlanti, he then started his own | | were also employed by Parlanti, he then started his own |
| business. After a partnership with Fiorini in the Peterborough | | business. After a partnership with Fiorini in the Peterborough |
| Road, Chelsea, during the 1920s, Galizia opened a foundry | | Road, Chelsea, during the 1920s, Galizia opened a foundry |
| at 36 York Road, Battersea, in October 1930. By the time of | | at 36 York Road, Battersea, in October 1930. By the time of |
| his death in 1958 the foundry had moved to Chatfield Road, | | his death in 1958 the foundry had moved to Chatfield Road, |
| Battersea, where his son was still managivg it in 1988. | | Battersea, where his son was still managivg it in 1988. |
| Galizia's contract book (which his son kindly showed me) | | Galizia's contract book (which his son kindly showed me) |
| records an order for 3 C¢£#P%/£J on 2 June 1933 at 20 | | records an order for 3 C¢£#P%/£J on 2 June 1933 at 20 |
| guineas, another for 3 on 20 December at £21 10s., another | | guineas, another for 3 on 20 December at £21 10s., another |
| for 2 on 6 October 1945 at £15 each, then one for I `large | | for 2 on 6 October 1945 at £15 each, then one for I `large |
| catapult' at fl5 on 14 December 1945, one for 2 small | | catapult' at fl5 on 14 December 1945, one for 2 small |
| C¢£#P„/£f at fl5 each on 9 July 1946, one for two large and | | C¢£#P„/£f at fl5 each on 9 July 1946, one for two large and |
| two small C¢}ap#/£f (at £30 and £20 each) on 18 June 1947, | | two small C¢}ap#/£f (at £30 and £20 each) on 18 June 1947, |
| and lastly one for two small C¢£ap„/£r at £20 each on 30 | | and lastly one for two small C¢£ap„/£r at £20 each on 30 |
| June 1948. All these orders seem to have been placed by the | | June 1948. All these orders seem to have been placed by the |
| sculptor. In addition one cast of the larger version was | | sculptor. In addition one cast of the larger version was |
| commissioned for £40 by Ijady Dick on 21 March 1965. The | | commissioned for £40 by Ijady Dick on 21 March 1965. The |
| contract book reveals that Dick gave Galizia much | | contract book reveals that Dick gave Galizia much |
| employment, preferring to use his foundry for all his smaller | | employment, preferring to use his foundry for all his smaller |
| work in bronze. Yet the Ashmolean's cast cannot have been | | work in bronze. Yet the Ashmolean's cast cannot have been |
| cast by Galizia's foundry, since it dates from before 1927. It | | cast by Galizia's foundry, since it dates from before 1927. It |
| is likely that Dick employed Galizia because he had formerly | | is likely that Dick employed Galizia because he had formerly |
| employed Parlanti and was aware of his work at that foundry. | | employed Parlanti and was aware of his work at that foundry. |
| 36 | | 36 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Fran€ois DIEUSSART ( c.1600ndl ) | | Fran€ois DIEUSSART ( c.1600ndl ) |
| n | | n | @@PROCESS |
| 471. Bust portrait of prince Rupert | | 471. Bust portrait of prince Rupert |
| 71.8 cms. (height of bust); 18.4 cms. (height of socle); 26 cms. | | 71.8 cms. (height of bust); 18.4 cms. (height of socle); 26 cms. |
| (length of socle); 21.6 cms. (width of socle) | | (length of socle); 21.6 cms. (width of socle) |
| Carrara marble, severely weathered, battered, and soiled. The nose | | Carrara marble, severely weathered, battered, and soiled. The nose |
| is restored in plaster. There are many minor losses: e.g. portions of | | is restored in plaster. There are many minor losses: e.g. portions of |
| the lace collar on proper left side, a curl above the centre of the | | the lace collar on proper left side, a curl above the centre of the |
| forehead, a curl at the proper left shoulder. Much detal is almost | | forehead, a curl at the proper left shoulder. Much detal is almost |
| worn away: e.g. ornamental fringe of cloak to proper left, little bow | | worn away: e.g. ornamental fringe of cloak to proper left, little bow |
| at centre of the lace collar. The proper left side of the bust has been | | at centre of the lace collar. The proper left side of the bust has been |
| detached and refixed and may always have been pieced. Mounted | | detached and refixed and may always have been pieced. Mounted |
| on its original socle of rectangular plan modified with a segmental | | on its original socle of rectangular plan modified with a segmental |
| projection in front; the sides hollowed to balance the projection. | | projection in front; the sides hollowed to balance the projection. |
| `ROBERrvus / DEI G . cOMEs / PAL . RHEN . / Dux BAVAR . / AETA . i7 | | `ROBERrvus / DEI G . cOMEs / PAL . RHEN . / Dux BAVAR . / AETA . i7 |
| AN.1637' is chiselled on the curved front face of the socle. | | AN.1637' is chiselled on the curved front face of the socle. |
| Given to the University by the dowager countess of Pomfret in | | Given to the University by the dowager countess of Pomfret in |
| 1755. Acquired by her father-in-law, Sir William Fermor (later I.ord | | 1755. Acquired by her father-in-law, Sir William Fermor (later I.ord |
| Leicester) from the sixth duke of Norfolk in 1691 together with the | | Leicester) from the sixth duke of Norfolk in 1691 together with the |
| Arundel marbles collected by Thomas Howard, second earl of | | Arundel marbles collected by Thomas Howard, second earl of |
| Arundel. This bust must have been commissioned by, or presented | | Arundel. This bust must have been commissioned by, or presented |
| to, the second earl. It was exhibited in the Old Schools together | | to, the second earl. It was exhibited in the Old Schools together |
| with the other Arundel marbles and is visible on a shelf together | | with the other Arundel marbles and is visible on a shelf together |
| with the bust of Henry VIII (No. 599) at one end of the gallery in | | with the bust of Henry VIII (No. 599) at one end of the gallery in |
| the drawing by William Westall dated 1813. | | the drawing by William Westall dated 1813. |
| Prince Rupcrt and his brother Charles-I.ouis were in England | | Prince Rupcrt and his brother Charles-I.ouis were in England |
| 1635-7 to try to persuade their uncle, King Charles I, to | | 1635-7 to try to persuade their uncle, King Charles I, to |
| support their claims to the Palatinate. The earl of Anindel's | | support their claims to the Palatinate. The earl of Anindel's |
| embassy in 1636 to the Holy Roman Emperor on the king's | | embassy in 1636 to the Holy Roman Emperor on the king's |
| behalf and in this cause may be connected with the existence | | behalf and in this cause may be connected with the existence |
| of this bust and its pair (also dated 1637, with identical soclc | | of this bust and its pair (also dated 1637, with identical soclc |
| but in superior condition) at Arundel Castle, Sussex. An earlier | | but in superior condition) at Arundel Castle, Sussex. An earlier |
| bust of the king himself, dated 1636, is also at Arundel Castle. | | bust of the king himself, dated 1636, is also at Arundel Castle. |
| This suggests that Arundel was a patron of Dieussart from | | This suggests that Arundel was a patron of Dieussart from |
| the commencement of the sculptor's residence in this | | the commencement of the sculptor's residence in this |
| country, for he is first recorded as working here in that year, | | country, for he is first recorded as working here in that year, |
| making a `Paradise of Glory' for the Queen's Chapel. Anlndel | | making a `Paradise of Glory' for the Queen's Chapel. Anlndel |
| may indeed have encouraged hin to come to England from | | may indeed have encouraged hin to come to England from |
| Rome where he had been employed by the Barberini-see | | Rome where he had been employed by the Barberini-see |
| D. Howarth, Lord Arttndel and his Circle (INow Haven, | | D. Howarth, Lord Arttndel and his Circle (INow Haven, |
| Conn., and I.ondon, 1985), 161 ff. | | Conn., and I.ondon, 1985), 161 ff. |
| 37 | | 37 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Fran¢ois DIEUSSART ( c.1600ndl ) | | Fran¢ois DIEUSSART ( c.1600ndl ) |
| n | | n | @@PROCESS |
| 472. Bust portrait of Thomas | | 472. Bust portrait of Thomas |
| Howard, earl of Anmdel | | Howard, earl of Anmdel |
| 90.2 cms. (height of bust); 24.8 cms. (height of socle) | | 90.2 cms. (height of bust); 24.8 cms. (height of socle) |
| Carrara marble, severely weathered, battered, and soiled. Ths bust | | Carrara marble, severely weathered, battered, and soiled. Ths bust |
| was dragged carlicr in this century from a burning house and lay | | was dragged carlicr in this century from a burning house and lay |
| for a while neglected and dirty in an outhouse where, however, Sir | | for a while neglected and dirty in an outhouse where, however, Sir |
| Oliver Millar detected it and recommcndcd its rc-erection. The | | Oliver Millar detected it and recommcndcd its rc-erection. The |
| nose was then repaired, but the missing right shoulder was not | | nose was then repaired, but the missing right shoulder was not |
| rcplaccd. The clean break here and the character of the hollowed | | rcplaccd. The clean break here and the character of the hollowed |
| back of the bust suggests that Dieussart must have used a scparatc | | back of the bust suggests that Dieussart must have used a scparatc |
| block of marble for this area (as may also have been the case with | | block of marble for this area (as may also have been the case with |
| No. 471). The bust was cleaned in part and extensively restored on | | No. 471). The bust was cleaned in part and extensively restored on |
| acquisition by Kathleen Kimber of the Department of Antiquities | | acquisition by Kathleen Kimber of the Department of Antiquities |
| working under the direction of Mark Norman. Mrs Kimber built up | | working under the direction of Mark Norman. Mrs Kimber built up |
| the proper left shoulder, the proper right eyebrow, the front of the | | the proper left shoulder, the proper right eyebrow, the front of the |
| collar, and the lower portions of the cloak folds across the chest and | | collar, and the lower portions of the cloak folds across the chest and |
| also devised a talbot to match the lion supporter in the socle and | | also devised a talbot to match the lion supporter in the socle and |
| completed the broken head of the horse projeedng at the front of | | completed the broken head of the horse projeedng at the front of |
| the socle through the c¢rfz//;"a to match those to either side. | | the socle through the c¢rfz//;"a to match those to either side. |
| Mounted on the massive white baluster-shaped pedestal origivally | | Mounted on the massive white baluster-shaped pedestal origivally |
| 38 | | 38 |
| devised for the bust of Cromwell (see No. 558). For a photograph | | devised for the bust of Cromwell (see No. 558). For a photograph |
| of the bust as it was previous to Mrs Kimber's work see the exhibition | | of the bust as it was previous to Mrs Kimber's work see the exhibition |
| Thomas Howard Earl Of Arundel cked below. p. \3. | | Thomas Howard Earl Of Arundel cked below. p. \3. |
| Bought from Mr and Mrs Neville Howard of Greystokc Castle in | | Bought from Mr and Mrs Neville Howard of Greystokc Castle in |
| January 1987 for £50,000 with contributions: £25,000 from the | | January 1987 for £50,000 with contributions: £25,000 from the |
| Regivnal Fund administered by the Victoria and Albert Museum, | | Regivnal Fund administered by the Victoria and Albert Museum, |
| £12,500 from the National Art-Collections Fund, £10,000 from | | £12,500 from the National Art-Collections Fund, £10,000 from |
| the Central Purchasing Fund, and ca,500 from the Blakiston Fund. | | the Central Purchasing Fund, and ca,500 from the Blakiston Fund. |
| The National Art-Collections Fund made its contribution in | | The National Art-Collections Fund made its contribution in |
| memory of sir Ellis Waterhouse. The bust had never left the Museum | | memory of sir Ellis Waterhouse. The bust had never left the Museum |
| since being loaned to the exhibition 777oow¢f Hoty¢7i¢ E¢#/ a/ | | since being loaned to the exhibition 777oow¢f Hoty¢7i¢ E¢#/ a/ |
| 47i¢¢"de/ in 1985. It was crectcd, after restoration, in the central | | 47i¢¢"de/ in 1985. It was crectcd, after restoration, in the central |
| niche at the head of the staircase in December 1987, replacing the | | niche at the head of the staircase in December 1987, replacing the |
| statue of Judith (No. 473). It had always been in the Howard finily | | statue of Judith (No. 473). It had always been in the Howard finily |
| and was presumably made for the sitter; it was probably taken to | | and was presumably made for the sitter; it was probably taken to |
| Greystoke in the eighteenth century. | | Greystoke in the eighteenth century. |
| For Dicussart's career in England see Nos. 471 and 473. The | | For Dicussart's career in England see Nos. 471 and 473. The |
| portrait, one of the most ambitious bust sculptures executed | | portrait, one of the most ambitious bust sculptures executed |
| in Britain in the seventeenth century, may well have been | | in Britain in the seventeenth century, may well have been |
| intended for Anmdel House and have prcsidcd over the great | | intended for Anmdel House and have prcsidcd over the great |
| collections assembled by the earl there, including the ancient | | collections assembled by the earl there, including the ancient |
| marbles, many of which are now in the Ashmolean Museum. | | marbles, many of which are now in the Ashmolean Museum. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Perhaps by Fran€ois DIEUSSART ( c.1600ndl ) | | Perhaps by Fran€ois DIEUSSART ( c.1600ndl ) |
| n | | n | @@PROCESS |
| 473. Judith with the head of | | 473. Judith with the head of |
| Holofemes | | Holofemes |
| n | | n | @@PROCESS |
| 136.5 cms. (height including the portion of the integral marble | | 136.5 cms. (height including the portion of the integral marble |
| base proud of the `capital' of the pedestal); 38.5 cms. (width of | | base proud of the `capital' of the pedestal); 38.5 cms. (width of |
| marble base) | | marble base) |
| Canara marble, severely weathered and battered. Cleaned July 1988 | | Canara marble, severely weathered and battered. Cleaned July 1988 |
| by Kathlecn Kimber, using the steam method. The plaster | | by Kathlecn Kimber, using the steam method. The plaster |
| restorations were renewed at the same date. The chief of these is | | restorations were renewed at the same date. The chief of these is |
| part of the loop of fringed drapery to the figurc's left where it | | part of the loop of fringed drapery to the figurc's left where it |
| touches the figurc's skirt. The small toe of Judith's left foot is broken | | touches the figurc's skirt. The small toe of Judith's left foot is broken |
| off, the toe next to it chipped. Her right arm is broken at the sleeve. | | off, the toe next to it chipped. Her right arm is broken at the sleeve. |
| It would have made contact with the skirt again, presumably at the | | It would have made contact with the skirt again, presumably at the |
| wrist, and would have probably held a sword. A loss on the skirt | | wrist, and would have probably held a sword. A loss on the skirt |
| indicates this point of contact. A loop of drapery above her left | | indicates this point of contact. A loop of drapery above her left |
| brca§t would presumably have been fastened to the jewel to match | | brca§t would presumably have been fastened to the jewel to match |
| that above her right breast. Mounted on a pedestal with a p¢.Gfrfz | | that above her right breast. Mounted on a pedestal with a p¢.Gfrfz |
| fG#G#¢ `capital' and plinth; the integral base of the marble figure has | | fG#G#¢ `capital' and plinth; the integral base of the marble figure has |
| been sunk and cemented into the `capital'. | | been sunk and cemented into the `capital'. |
| `Found in the basement' in 1934 (by K. T. Packer). Given to the | | `Found in the basement' in 1934 (by K. T. Packer). Given to the |
| University by the dowager countess of Pomfret in 1755. Recorded | | University by the dowager countess of Pomfret in 1755. Recorded |
| by George Vertue as among the `Anindel Marbles'. Presumably | | by George Vertue as among the `Anindel Marbles'. Presumably |
| made for, or acquired by, the earl of Arundel in the seventeenth | | made for, or acquired by, the earl of Arundel in the seventeenth |
| century. Placed by Parker on the present pedestal, which was adapted | | century. Placed by Parker on the present pedestal, which was adapted |
| for the statue by Helen Munro and Robert Goodcn, and in the | | for the statue by Helen Munro and Robert Goodcn, and in the |
| principal iiiche at the head of the main staircase (replacing the bust | | principal iiiche at the head of the main staircase (replacing the bust |
| of woodbum-see No. 448). Moved in November 1987 to the | | of woodbum-see No. 448). Moved in November 1987 to the |
| Randolph Gallery. Given an accession number by the Department | | Randolph Gallery. Given an accession number by the Department |
| of Antiquities in 1988 (G. 1277, and G. 1278 for the `altar'-i.e. | | of Antiquities in 1988 (G. 1277, and G. 1278 for the `altar'-i.e. |
| the pedestal. ) | | the pedestal. ) |
| As Parker was the first to notice, there is a related bronze | | As Parker was the first to notice, there is a related bronze |
| statuette,18.5 cms. high, in Berlin (now Staatliche Museen, | | statuette,18.5 cms. high, in Berlin (now Staatliche Museen, |
| Benin-Dahlem, no.1816). Jacob Hess, publishing this in | | Benin-Dahlem, no.1816). Jacob Hess, publishing this in |
| r967 (Kunstgeschichtliche Studien in Renaissance and | | r967 (Kunstgeschichtliche Studien in Renaissance and |
| B¢7ioc4, ii (Rome, 1967), 161, pls. 13-14), pointed to | | B¢7ioc4, ii (Rome, 1967), 161, pls. 13-14), pointed to |
| similarities with Nicolas Cordier's P7'r¢¢de#cG in the | | similarities with Nicolas Cordier's P7'r¢¢de#cG in the |
| Aldobrandini Chapel and Berthclot's angels in the Borghese | | Aldobrandini Chapel and Berthclot's angels in the Borghese |
| Chapel in Rome. Sylvia Pressouyre questioned this and | | Chapel in Rome. Sylvia Pressouyre questioned this and |
| suggcstcd that the Berlin bronze looks like a 4oz2;G#o for the | | suggcstcd that the Berlin bronze looks like a 4oz2;G#o for the |
| Ashmolcan J#d¢.£4 rather than a replica of it. ( Bo2;2##¢., | | Ashmolcan J#d¢.£4 rather than a replica of it. ( Bo2;2##¢., |
| however, were not commonly made in bronze.) She | | however, were not commonly made in bronze.) She |
| recommends that the sculptor of the statue and of the | | recommends that the sculptor of the statue and of the |
| 4o2;2;c#o-she assumed that they arc the same-bc scarchcd | | 4o2;2;c#o-she assumed that they arc the same-bc scarchcd |
| for `among the Ijombard and Venetian sculptors of whom | | for `among the Ijombard and Venetian sculptors of whom |
| there wcrc so many active in Rome in the early sevcntecnth | | there wcrc so many active in Rome in the early sevcntecnth |
| c;enrur!/' (Nicolas Cordier: Recherches sur la sculpture d Rome | | c;enrur!/' (Nicolas Cordier: Recherches sur la sculpture d Rome |
| ¢#£o#r de j600, 2 vols. (Rome, 1984), ii, fig. 252, no. 65, | | ¢#£o#r de j600, 2 vols. (Rome, 1984), ii, fig. 252, no. 65, |
| pp.444-5). | | pp.444-5). |
| More recently, Charles Avcry has suggested that the | | More recently, Charles Avcry has suggested that the |
| Ashmolean's marble is the work of Francois Dieussart (see | | Ashmolean's marble is the work of Francois Dieussart (see |
| the catalogue for the sale of T77G Ar##de/ 44l¢„b/cf ¢„d O£¢Gr | | the catalogue for the sale of T77G Ar##de/ 44l¢„b/cf ¢„d O£¢Gr |
| Sculpture f tom Favley Cottrt and Hall Barn, Chisirc. s, | | Sculpture f tom Favley Cottrt and Hall Barn, Chisirc. s, |
| I.ondon, 10 December 1985, p.16, discussing fragmentary | | I.ondon, 10 December 1985, p.16, discussing fragmentary |
| torsos from the Arundcl Collection which are neither Roman | | torsos from the Arundcl Collection which are neither Roman |
| nor Greek antiquities). The attribution is attractive not least | | nor Greek antiquities). The attribution is attractive not least |
| 40 | | 40 |
| because the sculpture could thus have been made in England | | because the sculpture could thus have been made in England |
| which is inherently more likely than that it was imported. | | which is inherently more likely than that it was imported. |
| Avery recommends comparison with the Mother and Child | | Avery recommends comparison with the Mother and Child |
| group on the monument to Charles Morgan, Governor of | | group on the monument to Charles Morgan, Governor of |
| Bergen op Zoom, in the latter city, but this comparison is | | Bergen op Zoom, in the latter city, but this comparison is |
| not easy to make (scc, however, C. Avery, `Fran€ois Dicussart: | | not easy to make (scc, however, C. Avery, `Fran€ois Dicussart: |
| Portrait Sculptor to the Courts of Northern Europe', S£"¢¢.er | | Portrait Sculptor to the Courts of Northern Europe', S£"¢¢.er |
| ¢.„ E#ropG¢7¢ Sc„/Pf#rc (London,1981 ), 219-20). Dieussart's | | ¢.„ E#ropG¢7¢ Sc„/Pf#rc (London,1981 ), 219-20). Dieussart's |
| bust of Johanna Doff of c.1645-50 in the Rijksmuscum (I. | | bust of Johanna Doff of c.1645-50 in the Rijksmuscum (I. |
| Leouwchoc;I8, Beeldhouwkunst in bet Rijksmusettm | | Leouwchoc;I8, Beeldhouwkunst in bet Rijksmusettm |
| (Amsterdam, 1973), no. 257b) certainly provides analoSes | | (Amsterdam, 1973), no. 257b) certainly provides analoSes |
| for the drilling of the hair and for the character of the fringe, | | for the drilling of the hair and for the character of the fringe, |
| whilst the treatment of the jewel may be matched with that | | whilst the treatment of the jewel may be matched with that |
| in Dicussart's bust of Queen Henrictta Maria (Avery, op. cit„ | | in Dicussart's bust of Queen Henrictta Maria (Avery, op. cit„ |
| pl. 5). But this is not conclusive. The bronze statuette may | | pl. 5). But this is not conclusive. The bronze statuette may |
| well have been an independent invention which inspired | | well have been an independent invention which inspired |
| Dieussart for it is a more sophisticated figure than the stiff | | Dieussart for it is a more sophisticated figure than the stiff |
| and uneasy statue. It is very freely modelled and the cast | | and uneasy statue. It is very freely modelled and the cast |
| appears to be untooled. Records in Berlin indicate that it was | | appears to be untooled. Records in Berlin indicate that it was |
| bought in I.ondon in 1890. | | bought in I.ondon in 1890. |
| The pedestal upon which the marble figure has bccn | | The pedestal upon which the marble figure has bccn |
| mounted is probably Italian work of the early sixteenth | | mounted is probably Italian work of the early sixteenth |
| century and will be catalogued in another volume. The base | | century and will be catalogued in another volume. The base |
| of the marble seems likely to have been cut down since its | | of the marble seems likely to have been cut down since its |
| form-ircular in front but following the line of the drapery | | form-ircular in front but following the line of the drapery |
| behind-is most peculiar. | | behind-is most peculiar. |
| BRITISH SCULPTURES, BY ARTIST'S | | BRITISH SCULPTURES, BY ARTIST'S |
| NAMEdiLf. | | NAMEdiLf. |
| 1:H¥['#¥± | | 1:H¥['#¥± |
| se=* | | se=* |
| RE,i,:i.,1,;,",i..";;,:,,,`+,I, | | RE,i,:i.,1,;,",i..";;,:,,,`+,I, |
| Judith with the head of Holofcrncs. | | Judith with the head of Holofcrncs. |
| Staatliche Musccn, Berlin-Dahlcm | | Staatliche Musccn, Berlin-Dahlcm |
| 41 | | 41 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| An Bronze Foundry, I.ondon | | An Bronze Foundry, I.ondon |
| After John DOUBLEDAY (b.1947) | | After John DOUBLEDAY (b.1947) |
| n | | n | @@PROCESS |
| 474. Sir Maurice Bowra | | 474. Sir Maurice Bowra |
| 44.2 cms. (height of bronze); 5.2 cms. (height of mahogany | | 44.2 cms. (height of bronze); 5.2 cms. (height of mahogany |
| plinth); 22.7 cms. (length of same); 22 cms. (width of sane) | | plinth); 22.7 cms. (length of same); 22 cms. (width of sane) |
| Bronze with a pale green and golden brown patina. Hollow, lost-wax | | Bronze with a pale green and golden brown patina. Hollow, lost-wax |
| cast (the chair, however, is solid). Incised `Doubleday' in the | | cast (the chair, however, is solid). Incised `Doubleday' in the |
| model on the chair rail to proper right. The bronze is bolted to an | | model on the chair rail to proper right. The bronze is bolted to an |
| unmoulded mahogany plinth. | | unmoulded mahogany plinth. |
| Presented by Sir William Yatcs in 1975. Registered on 22 July. | | Presented by Sir William Yatcs in 1975. Registered on 22 July. |
| The bronze is a maquette for the sculpture of Sir Maurice | | The bronze is a maquette for the sculpture of Sir Maurice |
| Bowra ( 1898-1971 ), the Master of wadham, now in the | | Bowra ( 1898-1971 ), the Master of wadham, now in the |
| garden of wadham-Bowra's wit was proverbial among | | garden of wadham-Bowra's wit was proverbial among |
| Oxford dons. Mr Doubleday informs me that his sculpture | | Oxford dons. Mr Doubleday informs me that his sculpture |
| was intended to show how Bowra and the `fabric' had become | | was intended to show how Bowra and the `fabric' had become |
| one-`the fabric in this case being represented by his study | | one-`the fabric in this case being represented by his study |
| chair'. Some people regarded this as `an infantile pun', but | | chair'. Some people regarded this as `an infantile pun', but |
| `Bowra was a bit of wadham or the other way round, so | | `Bowra was a bit of wadham or the other way round, so |
| that's how I represented him'. Doubleday believes that the | | that's how I represented him'. Doubleday believes that the |
| maquette was unique, but an earlier version of the idea exists | | maquette was unique, but an earlier version of the idea exists |
| in an edition of two of which he retains one. | | in an edition of two of which he retains one. |
| Among other public sculptures by Doubleday are portraits | | Among other public sculptures by Doubleday are portraits |
| of Dr Michael Ramsay, Archbishop of Canterbury, at | | of Dr Michael Ramsay, Archbishop of Canterbury, at |
| Lambeth Palace ( 1974), the statue of Charlie Chaplin in | | Lambeth Palace ( 1974), the statue of Charlie Chaplin in |
| Leicester Square, I.ondon ( 1981 ), the statue of the Beatles | | Leicester Square, I.ondon ( 1981 ), the statue of the Beatles |
| in Liverpool ( 1984), the statue of sir Laurence Ohivier in the | | in Liverpool ( 1984), the statue of sir Laurence Ohivier in the |
| National Institute of Film and Drama in Beijing in the | | National Institute of Film and Drama in Beijing in the |
| People's Republic of China ( 1987) . | | People's Republic of China ( 1987) . |
| 42 | | 42 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Unknown foundy | | Unknown foundy |
| After Conrad DRESSLER ( 1856-1940) | | After Conrad DRESSLER ( 1856-1940) |
| n | | n | @@PROCESS |
| 475. Portrait bust in relief of John | | 475. Portrait bust in relief of John |
| Ruskin | | Ruskin |
| 15.9 cms. (height); 20 cms. (diameter of board) | | 15.9 cms. (height); 20 cms. (diameter of board) |
| Bronze with a dark brown patina worn to yellow on the nose. Heavy | | Bronze with a dark brown patina worn to yellow on the nose. Heavy |
| sand-cast, open behind. Mounted on a circular board of pine. | | sand-cast, open behind. Mounted on a circular board of pine. |
| Incised `Con . . ' to proper left inside the jacket lapel. The board | | Incised `Con . . ' to proper left inside the jacket lapel. The board |
| coarsely inscribed in black paint on verso: `J° Ruskin / By / C. | | coarsely inscribed in black paint on verso: `J° Ruskin / By / C. |
| Dressler'. | | Dressler'. |
| The coarse inscription indicates that this item although stored in the | | The coarse inscription indicates that this item although stored in the |
| Deparment of western Art must belong to the collection of medals | | Deparment of western Art must belong to the collection of medals |
| purchased from Colonel Michael H. Grant in 1953 for the Heberden | | purchased from Colonel Michael H. Grant in 1953 for the Heberden |
| Coin Room. | | Coin Room. |
| Dressler stayed with Ruskin at Coniston in 1886. Ruskin did | | Dressler stayed with Ruskin at Coniston in 1886. Ruskin did |
| much to encourage him and in particular to direct his | | much to encourage him and in particular to direct his |
| sculptural training towards the applied arts. In the late l880s | | sculptural training towards the applied arts. In the late l880s |
| hc was working on the portrait of Dean hiddell for Christ | | hc was working on the portrait of Dean hiddell for Christ |
| Church and the Ancastcr stone figure of A4:¢ry A4l¢g7d¢/G» for | | Church and the Ancastcr stone figure of A4:¢ry A4l¢g7d¢/G» for |
| Magdalen College, Oxford. The terracotta bust of Ruskin by | | Magdalen College, Oxford. The terracotta bust of Ruskin by |
| Dresslcr in the Tate Gallery was probably the one exhibited | | Dresslcr in the Tate Gallery was probably the one exhibited |
| at the Royal Academy in 1885 (as no. 2009) and at the New | | at the Royal Academy in 1885 (as no. 2009) and at the New |
| Gallery in 1888 (as no. 320). It is reproduced in the A4l¢g#z;¢."c | | Gallery in 1888 (as no. 320). It is reproduced in the A4l¢g#z;¢."c |
| a/A77for 1891. A bronze bust said to be ofdiffcrent character, | | a/A77for 1891. A bronze bust said to be ofdiffcrent character, |
| dated 1903, was presented to the Ruskin Memorial Hall, | | dated 1903, was presented to the Ruskin Memorial Hall, |
| Bournville. It is probably identical with the one reproduced | | Bournville. It is probably identical with the one reproduced |
| opposite page 374 as a supplement to the March 1901 issue | | opposite page 374 as a supplement to the March 1901 issue |
| of the A7¢¢.j}. It is likely that the Ashmolean's bronze was not | | of the A7¢¢.j}. It is likely that the Ashmolean's bronze was not |
| originally conccivcd as a high rclicf but in the round. Indccd | | originally conccivcd as a high rclicf but in the round. Indccd |
| it appears to be an identical cast to that reproduced in the | | it appears to be an identical cast to that reproduced in the |
| A77¢.ff but sawn down, perhaps bccausc of a flaw in the cast. | | A77¢.ff but sawn down, perhaps bccausc of a flaw in the cast. |
| It is so simplified in comparison with the earlier terracotta | | It is so simplified in comparison with the earlier terracotta |
| and so dull in surface that one must wonder what part Dresslcr | | and so dull in surface that one must wonder what part Dresslcr |
| played in its creation, for his best work is very sensitive, | | played in its creation, for his best work is very sensitive, |
| indccd over nervous, in texture, and during the l890s he | | indccd over nervous, in texture, and during the l890s he |
| experimented with lost-wax casting in his own small foundry | | experimented with lost-wax casting in his own small foundry |
| (-M. H. Sp;id"n:n, British Scul2ture and Sculptors Of To-Day | | (-M. H. Sp;id"n:n, British Scul2ture and Sculptors Of To-Day |
| (Ik)ndon,1901), 86). For Drcsslcr see also Nos. 476-7. | | (Ik)ndon,1901), 86). For Drcsslcr see also Nos. 476-7. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Conrad DRESSLER ( 1856-1940) | | Conrad DRESSLER ( 1856-1940) |
| n | | n | @@PROCESS |
| 476. Profile portrait medallion of | | 476. Profile portrait medallion of |
| Sir John Mowbray | | Sir John Mowbray |
| 20 cms. (dianetcr) | | 20 cms. (dianetcr) |
| Plaster cast. Incised in the model: `CoNRAD DRESSLER 1882' below | | Plaster cast. Incised in the model: `CoNRAD DRESSLER 1882' below |
| the bust and `SIR JOHN MoWBRAy / MDCCCLXXXII' behind the | | the bust and `SIR JOHN MoWBRAy / MDCCCLXXXII' behind the |
| neck. The frame, brilliantly ctlded, is also of plaster and integral. | | neck. The frame, brilliantly ctlded, is also of plaster and integral. |
| Frame chipped below. Mounted in a shadow box. | | Frame chipped below. Mounted in a shadow box. |
| Provenance recorded | | Provenance recorded |
| Drcsslcr seems to have cxhibitcd this portrait at the Royal | | Drcsslcr seems to have cxhibitcd this portrait at the Royal |
| Academy in 1889 (as no. 2031, fife Rf. Ho„. S¢.r/o4» | | Academy in 1889 (as no. 2031, fife Rf. Ho„. S¢.r/o4» |
| A4low47ey. 8¢77., A41.P.), but perhaps in another medium. | | A4low47ey. 8¢77., A41.P.), but perhaps in another medium. |
| Mowbray ( 1815-99) was Conservative Member of | | Mowbray ( 1815-99) was Conservative Member of |
| Parliament for the University of Oxford from 1868 until his | | Parliament for the University of Oxford from 1868 until his |
| death. He was an Honorary Student of Christ Church, his | | death. He was an Honorary Student of Christ Church, his |
| college as an undergraduate, and had in 1836 been President | | college as an undergraduate, and had in 1836 been President |
| of the Oxford University Debating Society. There is a similar | | of the Oxford University Debating Society. There is a similar |
| plaster profile medallion by Drcssler of spenccr Horatio | | plaster profile medallion by Drcssler of spenccr Horatio |
| Walpole dated 1882 in the National Portrait Gallery (5215). | | Walpole dated 1882 in the National Portrait Gallery (5215). |
| For Drcssler see also Nos. 475, 477-9. | | For Drcssler see also Nos. 475, 477-9. |
| 44 | | 44 |
| After Conrad DRESSLER ( 1856-1940) | | After Conrad DRESSLER ( 1856-1940) |
| n | | n | @@PROCESS |
| 477. Medallion profile bust portrait | | 477. Medallion profile bust portrait |
| of Benjamin Disraeli, lst earl of | | of Benjamin Disraeli, lst earl of |
| Beaconsfield | | Beaconsfield |
| 19 cms. (diameter of medallion visible within fromc); 20.6 cms. | | 19 cms. (diameter of medallion visible within fromc); 20.6 cms. |
| (probable diameter of medallion ); 23.9 cms. (diameter of frame) | | (probable diameter of medallion ); 23.9 cms. (diameter of frame) |
| Copper electrotype. The metal remains furly bright. `coNRAD | | Copper electrotype. The metal remains furly bright. `coNRAD |
| DRESSLER' is incised on the cutting of the bust. The relief is set in | | DRESSLER' is incised on the cutting of the bust. The relief is set in |
| an ebonizcd pine frame. On the wooden backing to the frame `I.ord | | an ebonizcd pine frame. On the wooden backing to the frame `I.ord |
| Beaconsfield / By / Courad Dressler' is written in pen and ink and | | Beaconsfield / By / Courad Dressler' is written in pen and ink and |
| `wlTH 18 / 6 / 30 / Cast of .... DI-to hay' is written in pencil. | | `wlTH 18 / 6 / 30 / Cast of .... DI-to hay' is written in pencil. |
| The elcctrotype is kept in the Coin Room as part of the collection | | The elcctrotype is kept in the Coin Room as part of the collection |
| of medals purchased from Colonel Michael H. Grant in 1953. It is | | of medals purchased from Colonel Michael H. Grant in 1953. It is |
| included in his manuscript catalogue on p.140 as one of the two | | included in his manuscript catalogue on p.140 as one of the two |
| (see also No. 478) of 1880 and 1881. | | (see also No. 478) of 1880 and 1881. |
| For Dresslcr scc also Nos. 475-7, 478-9. This electrotypc | | For Dresslcr scc also Nos. 475-7, 478-9. This electrotypc |
| (or at least the original which it reproduces) was evidently a | | (or at least the original which it reproduces) was evidently a |
| companion of that of Gladstonc which is of identical size and | | companion of that of Gladstonc which is of identical size and |
| has the same tcxturcd ground. For a bronze version of the | | has the same tcxturcd ground. For a bronze version of the |
| portrait see No. 478. | | portrait see No. 478. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| After Conrad DRESSLER ( 1856-1940) | | After Conrad DRESSLER ( 1856-1940) |
| n | | n | @@PROCESS |
| 478. Medallion profile bust portrait | | 478. Medallion profile bust portrait |
| of Benjamin Disraeli, 1st earl of | | of Benjamin Disraeli, 1st earl of |
| Beaconsfield | | Beaconsfield |
| 28.7 cms. (diameter of medallion); 20 cms. (height of bust) | | 28.7 cms. (diameter of medallion); 20 cms. (height of bust) |
| Bronze with a dark brown patina. Sand-cast. Hollow behind the | | Bronze with a dark brown patina. Sand-cast. Hollow behind the |
| bust. `CoNRAD DRESSLER'/ `18 Ap 1880' incised funtly in the model | | bust. `CoNRAD DRESSLER'/ `18 Ap 1880' incised funtly in the model |
| under the cutting of the shoulder. | | under the cutting of the shoulder. |
| The bronze has been kept in the room of the Muscum's administrator | | The bronze has been kept in the room of the Muscum's administrator |
| since c.1970. It came from the Heberden Coin Room whcrc it | | since c.1970. It came from the Heberden Coin Room whcrc it |
| formed part of the collection of medals purchased from Colonel | | formed part of the collection of medals purchased from Colonel |
| Michael H. Grant in 1953. It is included in the manuscript catalogue | | Michael H. Grant in 1953. It is included in the manuscript catalogue |
| of his collection on p.140 as one of two such medals of 1880 and | | of his collection on p.140 as one of two such medals of 1880 and |
| 1881. | | 1881. |
| The faintness of the signature makes it possible that the cast | | The faintness of the signature makes it possible that the cast |
| was not authorized. See No. 477 for another version of this | | was not authorized. See No. 477 for another version of this |
| portrait. | | portrait. |
| After Conrad DRESSLER ( 1856-1940) | | After Conrad DRESSLER ( 1856-1940) |
| n | | n | @@PROCESS |
| 479. Medallion profile bust portrait | | 479. Medallion profile bust portrait |
| of William Ewart Gladstone | | of William Ewart Gladstone |
| 19.5 cms. (diameter of medalhion visible within frame); 20.6 cms. | | 19.5 cms. (diameter of medalhion visible within frame); 20.6 cms. |
| (probable diameter of medallion); 25. 5 cms. (diameter of frame) | | (probable diameter of medallion); 25. 5 cms. (diameter of frame) |
| Copper electrotype. The metal has darkened. `Published .... | | Copper electrotype. The metal has darkened. `Published .... |
| 8 / I.ondon .... 28th 1880 / CONRAD D .... ' in fundy incised | | 8 / I.ondon .... 28th 1880 / CONRAD D .... ' in fundy incised |
| letters can be read on the cutting of the bust. The relief is set in an | | letters can be read on the cutting of the bust. The relief is set in an |
| ebonized pine frame with a split at 6.30 and a chip missing at the | | ebonized pine frame with a split at 6.30 and a chip missing at the |
| right edge. On the wooden backing to the frame | | right edge. On the wooden backing to the frame |
| `By / Conrad / Drcssler' is crudely painted in black. | | `By / Conrad / Drcssler' is crudely painted in black. |
| The electrotype is kept in the Heberden Coin Room as part of the | | The electrotype is kept in the Heberden Coin Room as part of the |
| collection of medals purchased in 1953 from Colonel Michael H. | | collection of medals purchased in 1953 from Colonel Michael H. |
| Grant. It is dated 1881 in Grant's MS catalogue (p.142). | | Grant. It is dated 1881 in Grant's MS catalogue (p.142). |
| For Dressier see also Nos. 475-9. It is not known whether | | For Dressier see also Nos. 475-9. It is not known whether |
| the making of this electrotype was authorized. If it was it is | | the making of this electrotype was authorized. If it was it is |
| strange that the inscription is not clearly ledble. The lettering | | strange that the inscription is not clearly ledble. The lettering |
| especially suggests that the electrotype was made from a cast | | especially suggests that the electrotype was made from a cast |
| taken from a plaster or bronze version of the medauion. | | taken from a plaster or bronze version of the medauion. |
| 45 | | 45 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| [Edward] Alfred [Briscoe] DRURY ( 1856-1944) | | [Edward] Alfred [Briscoe] DRURY ( 1856-1944) |
| n | | n | @@PROCESS |
| 480. Tile decorated with lhies of the | | 480. Tile decorated with lhies of the |
| valley | | valley |
| 22.2 cms. (height); 20.7 cms. (width); 3.4 cms. (thickness) | | 22.2 cms. (height); 20.7 cms. (width); 3.4 cms. (thickness) |
| Artificial or `composition' stone with a colour and texture resembling | | Artificial or `composition' stone with a colour and texture resembling |
| hillstonc grit. `A: DRURy Nov/ 25th / 1875' scratched after firing on | | hillstonc grit. `A: DRURy Nov/ 25th / 1875' scratched after firing on |
| one side. | | one side. |
| Provenance unknown. | | Provenance unknown. |
| The date would suggest that Drury, whose father was a tailor | | The date would suggest that Drury, whose father was a tailor |
| who had settled in Oxford, made this at the Oxford School | | who had settled in Oxford, made this at the Oxford School |
| of Art where he studied after he left New College Choir | | of Art where he studied after he left New College Choir |
| School presumably in about 1870 and previous to winning a | | School presumably in about 1870 and previous to winning a |
| place as a National Scholar at the National Art Training | | place as a National Scholar at the National Art Training |
| School, South Kensington (later to be named the Royal | | School, South Kensington (later to be named the Royal |
| College of Art), presumably in about 1876-neither the Choir | | College of Art), presumably in about 1876-neither the Choir |
| School nor the Training School retains records. There is | | School nor the Training School retains records. There is |
| nothing surprising about the tile as a design of this period | | nothing surprising about the tile as a design of this period |
| and it may be compared with the stylized treatment of natural | | and it may be compared with the stylized treatment of natural |
| specinens found in the Oxford Museum or in Watcrhousc's | | specinens found in the Oxford Museum or in Watcrhousc's |
| Natural History Museum in South Kensington. The latter | | Natural History Museum in South Kensington. The latter |
| was close in date (commended in 1873) and included | | was close in date (commended in 1873) and included |
| simulated carvings of botanical and zooloScal specimens of | | simulated carvings of botanical and zooloScal specimens of |
| terracotta similar in both colour and texture to stone. | | terracotta similar in both colour and texture to stone. |
| According to M. H. Spielmann (whose source must have | | According to M. H. Spielmann (whose source must have |
| been Drury himself) Drury was inspired to become an artist | | been Drury himself) Drury was inspired to become an artist |
| by the sight of Chantrey's works in the University Galleries | | by the sight of Chantrey's works in the University Galleries |
| (British Scttlpture and Sculptors Of To-Day (.London, \90\), | | (British Scttlpture and Sculptors Of To-Day (.London, \90\), |
| Ilo) and this carly effort-it may be his earhest surviving | | Ilo) and this carly effort-it may be his earhest surviving |
| work-was perhaps presented to the Museum in gratitude. | | work-was perhaps presented to the Museum in gratitude. |
| It is just possible, however, that it may never have left the | | It is just possible, however, that it may never have left the |
| museum, for the Oxford School of Art which Drury attended | | museum, for the Oxford School of Art which Drury attended |
| must be the Government school of design which the Curators | | must be the Government school of design which the Curators |
| of the University Gallcrics permitted to occupy the museum | | of the University Gallcrics permitted to occupy the museum |
| in 1866. The school had the use of the south end of the | | in 1866. The school had the use of the south end of the |
| I,argc Gallery at first and then a part of the Chantrey Gallery | | I,argc Gallery at first and then a part of the Chantrey Gallery |
| (the prcscnt Ruskin Lecture Hall) and it was conducted by | | (the prcscnt Ruskin Lecture Hall) and it was conducted by |
| Mr Macdonald whom Ruskin also employed when his school | | Mr Macdonald whom Ruskin also employed when his school |
| was established. Ruskin's school seems to have driven the old | | was established. Ruskin's school seems to have driven the old |
| school downstairs but it continued to operate within the | | school downstairs but it continued to operate within the |
| Museum until 1895 (minutes of the Curators of the | | Museum until 1895 (minutes of the Curators of the |
| University Gauerics, AMS. 41, pp. 37, 38, 39, 42, 55, and | | University Gauerics, AMS. 41, pp. 37, 38, 39, 42, 55, and |
| n | | n | @@PROCESS |
| 136). | | 136). |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably foundry of Alessandro Parlanti, Parson's Green, | | Probably foundry of Alessandro Parlanti, Parson's Green, |
| Fulham, or of Singer, Frome, Somerset | | Fulham, or of Singer, Frome, Somerset |
| After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) | | After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) |
| n | | n | @@PROCESS |
| 481. Griselda | | 481. Griselda |
| 25.9 cms. (height including integral bronze base); 2.6 cms. | | 25.9 cms. (height including integral bronze base); 2.6 cms. |
| (height of plinth); 22.5 cms. (length of plinth); 12.5 cms. (width | | (height of plinth); 22.5 cms. (length of plinth); 12.5 cms. (width |
| of plinth) | | of plinth) |
| Bronze with a very pale and bright green varnish, dark green in the | | Bronze with a very pale and bright green varnish, dark green in the |
| hollows, won to yellow on the salient folds of the sleeve and chipped | | hollows, won to yellow on the salient folds of the sleeve and chipped |
| off on nose and on bun. Hollow, lost-wax, cast. Mounted on a | | off on nose and on bun. Hollow, lost-wax, cast. Mounted on a |
| serpentine plinth swelling forward at front and back. Incised A. | | serpentine plinth swelling forward at front and back. Incised A. |
| DRURy in the model in the houow at the back of the bronze base. | | DRURy in the model in the houow at the back of the bronze base. |
| Bequeathed by the Rcvd J. W. R Brocklcbank in November 1926. | | Bequeathed by the Rcvd J. W. R Brocklcbank in November 1926. |
| No. 10 on Andrew Shirley's receipt of January 1927 (`A bust, | | No. 10 on Andrew Shirley's receipt of January 1927 (`A bust, |
| Beatrice'). | | Beatrice'). |
| Drury exhibited `Griselda; bronze bust' at the Royal Academy | | Drury exhibited `Griselda; bronze bust' at the Royal Academy |
| in 1896 where it was much admired. It was purchased with | | in 1896 where it was much admired. It was purchased with |
| the Chantrey Bequest for £70 and is now in the reserve | | the Chantrey Bequest for £70 and is now in the reserve |
| collection at the Tatc Gallery. Reductions of this life-size | | collection at the Tatc Gallery. Reductions of this life-size |
| work (53.5 cms high) are not uncommon and Susan Beattic | | work (53.5 cms high) are not uncommon and Susan Beattic |
| ( 777c Nie7p Sc#/Pf#7ic (Ijondon and New Haven, Conn., 1983), | | ( 777c Nie7p Sc#/Pf#7ic (Ijondon and New Haven, Conn., 1983), |
| n | | n | @@PROCESS |
| 242) lists examples in public collections in Glasgow, York, | | 242) lists examples in public collections in Glasgow, York, |
| and Preston in addition to this one. Such reductions must | | and Preston in addition to this one. Such reductions must |
| have been made from a smaller model by Drury himself for | | have been made from a smaller model by Drury himself for |
| they are not mechanical and there are numerous minor | | they are not mechanical and there are numerous minor |
| differences from the larger bronze: most notably there is no | | differences from the larger bronze: most notably there is no |
| detached band hanging from the hair and no cherub in the | | detached band hanging from the hair and no cherub in the |
| hollow of the base in the smaller version. It is, however, less | | hollow of the base in the smaller version. It is, however, less |
| common than the 4gr a/a.""ocG#ce, a very similar bronze | | common than the 4gr a/a.""ocG#ce, a very similar bronze |
| bust portrait of Gracie Doncaster exhibited at the Royal | | bust portrait of Gracie Doncaster exhibited at the Royal |
| Academy in 1897 with which it has often been confused. | | Academy in 1897 with which it has often been confused. |
| The idea of terminating a bust in this manner was inspired | | The idea of terminating a bust in this manner was inspired |
| by the renewal of popular interest in Italian quattrocento | | by the renewal of popular interest in Italian quattrocento |
| sculpture in the last quarter of the nineteenth century and had | | sculpture in the last quarter of the nineteenth century and had |
| been anticipated in Britain by both Gcorgc Frampton (in his | | been anticipated in Britain by both Gcorgc Frampton (in his |
| C47'¢.ff#de/ of 1889) and Edward Onslow Ford in his A j}#dy | | C47'¢.ff#de/ of 1889) and Edward Onslow Ford in his A j}#dy |
| of c.1890). But the Italians had revived this type of bust by | | of c.1890). But the Italians had revived this type of bust by |
| the 1860s-in forgcrics as well as imitations. The most famous | | the 1860s-in forgcrics as well as imitations. The most famous |
| of the former was Bastianini's imagivary portrait of Lucrezia | | of the former was Bastianini's imagivary portrait of Lucrezia |
| Donati, acclaimed by Cavalcaselle as the masterpiece of Mino | | Donati, acclaimed by Cavalcaselle as the masterpiece of Mino |
| da Fiesole, but cxposcd as a modem work by Dr Alessandro | | da Fiesole, but cxposcd as a modem work by Dr Alessandro |
| Foresi in 1868, and acquired as such by the Victoria and | | Foresi in 1868, and acquired as such by the Victoria and |
| Albert Museum in the following year (38-1869). In 1870 | | Albert Museum in the following year (38-1869). In 1870 |
| Charles-Jean-Marie Degeorge ( 1837-88 ) exhibited his | | Charles-Jean-Marie Degeorge ( 1837-88 ) exhibited his |
| `Bernardino Ccnci' at the Paris Salon (no. 4412) with a great | | `Bernardino Ccnci' at the Paris Salon (no. 4412) with a great |
| success which hc repeated at the Exposition Universelle of | | success which hc repeated at the Exposition Universelle of |
| 1878 (Musec de Lyon, 8497; other versions elsewhere). Hc | | 1878 (Musec de Lyon, 8497; other versions elsewhere). Hc |
| had, significantly, created this bust in Italy. When Franpton, | | had, significantly, created this bust in Italy. When Franpton, |
| Ford, and other British sculptors came to revive this type of | | Ford, and other British sculptors came to revive this type of |
| bust it is noteworthy that it was at first also for inagivary | | bust it is noteworthy that it was at first also for inagivary |
| Portraits. In the case of this work by Drury, the subject was | | Portraits. In the case of this work by Drury, the subject was |
| fi.om Italian Renaissance literature: Griselda is the heroine of | | fi.om Italian Renaissance literature: Griselda is the heroine of |
| Boccaccio's story in the Dcc¢owc7io7¢ (Day 10, Story 10) more | | Boccaccio's story in the Dcc¢owc7io7¢ (Day 10, Story 10) more |
| finiliar to British readers in Chaucer's version, whose meek | | finiliar to British readers in Chaucer's version, whose meek |
| Patience and enduring love, submitted to cruel tests of virtue | | Patience and enduring love, submitted to cruel tests of virtue |
| by her high-born husband, were proverbial. The inspiration | | by her high-born husband, were proverbial. The inspiration |
| for making a fanciful portrait from Boccaccio may well have | | for making a fanciful portrait from Boccaccio may well have |
| been Canbi's bust of F¢.¢ac7"c## which Theodosia Trollope | | been Canbi's bust of F¢.¢ac7"c## which Theodosia Trollope |
| mentioned as having been four times repeated in her `Notes | | mentioned as having been four times repeated in her `Notes |
| on the Most Recent Productions of Florentine Sculptors', in | | on the Most Recent Productions of Florentine Sculptors', in |
| 1861 (A#/a"7'7¢¢/ (I July 1861), 211). Drury's decision in | | 1861 (A#/a"7'7¢¢/ (I July 1861), 211). Drury's decision in |
| the following year to adapt the same archaic, or at least quaint, | | the following year to adapt the same archaic, or at least quaint, |
| format for a portrait of a contemporary seems to have been | | format for a portrait of a contemporary seems to have been |
| a novel departure. The last notable British bust to adopt this | | a novel departure. The last notable British bust to adopt this |
| format was perhaps Epstein's portrait of Mrs Ambrose | | format was perhaps Epstein's portrait of Mrs Ambrose |
| MCEvoy of 1909-10. | | MCEvoy of 1909-10. |
| 47 | | 47 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Probably foundry of Alessandro Parlanti, Parson's Green, | | Probably foundry of Alessandro Parlanti, Parson's Green, |
| Fulham, or of Singer, Frome, Somerset | | Fulham, or of Singer, Frome, Somerset |
| After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) | | After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) |
| n | | n | @@PROCESS |
| 482. Spring | | 482. Spring |
| 43.6 cms. (height including base and plinth); 3.6 cms. (height of | | 43.6 cms. (height including base and plinth); 3.6 cms. (height of |
| plinth); 14cms. (length of plinth); 12.45 cms (width of plinth) | | plinth); 14cms. (length of plinth); 12.45 cms (width of plinth) |
| Bronze with a dark green patina. Hollow, lost-wax, cast. The rough | | Bronze with a dark green patina. Hollow, lost-wax, cast. The rough |
| base and spreading plinth are integral. Incised `A Drury' in the | | base and spreading plinth are integral. Incised `A Drury' in the |
| model on the base behind the figure. | | model on the base behind the figure. |
| Bequeathed by the Revd R W. R Brocklebank in November 1926. | | Bequeathed by the Revd R W. R Brocklebank in November 1926. |
| No. 2 on Andrew Shirley's receipt of January 1927 (`A Statuette | | No. 2 on Andrew Shirley's receipt of January 1927 (`A Statuette |
| Female figure symbolising Victory, 17" high . . . on ebonised wood | | Female figure symbolising Victory, 17" high . . . on ebonised wood |
| plinth'). The statuette was long off display; in recent years it had | | plinth'). The statuette was long off display; in recent years it had |
| been employed as an ornament in the office of Ion I.owe: it was | | been employed as an ornament in the office of Ion I.owe: it was |
| placed in 1988 in the newly decorated Combe Gallery. | | placed in 1988 in the newly decorated Combe Gallery. |
| A bronzed plaster of this subject was exhibited as no. 56 in | | A bronzed plaster of this subject was exhibited as no. 56 in |
| the exhibition Sc"/Pf#rc/or fife Hoowc mounted by the Fine | | the exhibition Sc"/Pf#rc/or fife Hoowc mounted by the Fine |
| Art Society in 1902 (S. Bcattie, 777e Niow7 Sc#/P£„yG (I.ondon | | Art Society in 1902 (S. Bcattie, 777e Niow7 Sc#/P£„yG (I.ondon |
| and New Haven, Conn.,1983), 260 no. 61) with a note to | | and New Haven, Conn.,1983), 260 no. 61) with a note to |
| the cffcct that an edition of twenty bronzes was available (or | | the cffcct that an edition of twenty bronzes was available (or |
| proposed?), each one to cost 40 guineas. Another cast is in | | proposed?), each one to cost 40 guineas. Another cast is in |
| the Laing Art Ganery, Newcastle upon Tyne. | | the Laing Art Ganery, Newcastle upon Tyne. |
| There is a relationship between this and the personifications | | There is a relationship between this and the personifications |
| of Epc„¢.»g and Mo7'7G¢.7¢g which Drury was commissioned to | | of Epc„¢.»g and Mo7'7G¢.7¢g which Drury was commissioned to |
| make as standard clcctric lights for the City Square in Lecds, | | make as standard clcctric lights for the City Square in Lecds, |
| one of which hc cxhibitcd at the Royal Academy in 1898 | | one of which hc cxhibitcd at the Royal Academy in 1898 |
| (no. 1961 ). These works were much influenced by a decorative | | (no. 1961 ). These works were much influenced by a decorative |
| tradition in French sculpture, the N¢j¢f and D¢y by Pradier, | | tradition in French sculpture, the N¢j¢f and D¢y by Pradier, |
| for example. | | for example. |
| I,{.#Har#f####i#',`'f | | I,{.#Har#f####i#',`'f |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably the foundry of J. W. Singer and Sons, Fromc, | | Probably the foundry of J. W. Singer and Sons, Fromc, |
| Somcrsct | | Somcrsct |
| After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) | | After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) |
| n | | n | @@PROCESS |
| 483. Joseph Priestley | | 483. Joseph Priestley |
| 56 cms. (height of figure, including integral plinth); 2.5 cms, | | 56 cms. (height of figure, including integral plinth); 2.5 cms, |
| (height of serpentine sub-plinth ) | | (height of serpentine sub-plinth ) |
| Bronze with a dark green patina, worn to pale green in the most | | Bronze with a dark green patina, worn to pale green in the most |
| salient points. A few scratches expose a yellow metal. Hollow, | | salient points. A few scratches expose a yellow metal. Hollow, |
| probably lost-wax, cast. Chisclled on the back of the plinth in the | | probably lost-wax, cast. Chisclled on the back of the plinth in the |
| metal: `A DRURy' to proper left, and `1902' to proper right. | | metal: `A DRURy' to proper left, and `1902' to proper right. |
| Bequeathed through the National Art-Collections Fund by Charles | | Bequeathed through the National Art-Collections Fund by Charles |
| H. Priestley of Marsh Baldon (born 1910, died 13 March 1988, | | H. Priestley of Marsh Baldon (born 1910, died 13 March 1988, |
| exhibitioner at New College, Oxford, 1929-32, long the senior | | exhibitioner at New College, Oxford, 1929-32, long the senior |
| partner of the University's solicitors Morrell, Peel and Gamlen, | | partner of the University's solicitors Morrell, Peel and Gamlen, |
| appointed in 1978 Deputy Lieutenant for Oxfordshire). The | | appointed in 1978 Deputy Lieutenant for Oxfordshire). The |
| sculpture was received in the Museum on 5 April 1988 and placed | | sculpture was received in the Museum on 5 April 1988 and placed |
| on display in the newly decorated Combe Gallery in the summer of | | on display in the newly decorated Combe Gallery in the summer of |
| that year. | | that year. |
| Drury's first great successes at the Royal Academy, his bronze | | Drury's first great successes at the Royal Academy, his bronze |
| statue of C¢.rcG and his bust of S£ 4g»cJ, were purchased for | | statue of C¢.rcG and his bust of S£ 4g»cJ, were purchased for |
| Lecds City Art Gallery in 1894 ( CG.rcc now stands outside in | | Lecds City Art Gallery in 1894 ( CG.rcc now stands outside in |
| the grounds of Leeds City Art Gallery). This helps to explain | | the grounds of Leeds City Art Gallery). This helps to explain |
| why, later in the decade, hc received from Colonel T. Walter | | why, later in the decade, hc received from Colonel T. Walter |
| Harding (mayor bctwcen 1898 and 1899) the remarkable | | Harding (mayor bctwcen 1898 and 1899) the remarkable |
| commission for a series of eight bronze electric lamp standards | | commission for a series of eight bronze electric lamp standards |
| in the form of nearly nude women. Four of these casts were | | in the form of nearly nude women. Four of these casts were |
| of a languid Epc"¢.7¢g with her left arm raised and four of a | | of a languid Epc"¢.7¢g with her left arm raised and four of a |
| more lively A4lorȢ."g with her right arm raised. EPGȢ.#g was | | more lively A4lorȢ."g with her right arm raised. EPGȢ.#g was |
| cxhibitcd at the Royal Academy in 1898. These standards | | cxhibitcd at the Royal Academy in 1898. These standards |
| were designed to surmount a balustrade surrounding a | | were designed to surmount a balustrade surrounding a |
| colossal equestrian statue of the Black Prince by Brock in the | | colossal equestrian statue of the Black Prince by Brock in the |
| City Square. Part of the same commission-nd also paid for | | City Square. Part of the same commission-nd also paid for |
| by Harding-were bronze statuettes of Joseph Priestley by | | by Harding-were bronze statuettes of Joseph Priestley by |
| Drury and of Dr Hook by Pomeroy. Statues of two other | | Drury and of Dr Hook by Pomeroy. Statues of two other |
| local worthies, both by H. C. Fehr (John Harrison and James | | local worthies, both by H. C. Fehr (John Harrison and James |
| Watt), were given by RIchard Boston and Richard | | Watt), were given by RIchard Boston and Richard |
| Wainwright. Although most of these works declare themselves | | Wainwright. Although most of these works declare themselves |
| on their sub-plinths as Sfts of 1903 that of watt dates the | | on their sub-plinths as Sfts of 1903 that of watt dates the |
| rift to 1898 and gives 1903 as the date of erection, and this | | rift to 1898 and gives 1903 as the date of erection, and this |
| was in fact the case with them all. The sculpture has unhappily | | was in fact the case with them all. The sculpture has unhappily |
| been rearranged in recent years: an idea of its origival setting | | been rearranged in recent years: an idea of its origival setting |
| can be obtained from a photograph in the Sf#d¢.a for | | can be obtained from a photograph in the Sf#d¢.a for |
| November 1903 (30: 165). Drury exhibited `Joseph Priestley, | | November 1903 (30: 165). Drury exhibited `Joseph Priestley, |
| LL.D., F.R.S.; statue for City Square, Leeds' at the Royal | | LL.D., F.R.S.; statue for City Square, Leeds' at the Royal |
| Academy in 1899 (no. 1890). This was probably a plaster | | Academy in 1899 (no. 1890). This was probably a plaster |
| cast, a photograph of which is reproduced by M. H. | | cast, a photograph of which is reproduced by M. H. |
| Soyidm:am, British Sculpture and Sculptors Of To-Day | | Soyidm:am, British Sculpture and Sculptors Of To-Day |
| (Ijondon,1901),112. The bronze in Leeds must date from | | (Ijondon,1901),112. The bronze in Leeds must date from |
| 1899 or from soon afterwards. It reproduces the artist's | | 1899 or from soon afterwards. It reproduces the artist's |
| signature and the date `99' from the model and is chiscucd | | signature and the date `99' from the model and is chiscucd |
| on the back of the plinth: `7w slNGER & soNs FouNDERs', as | | on the back of the plinth: `7w slNGER & soNs FouNDERs', as |
| are the lamp standards. | | are the lamp standards. |
| The date of 1902 on the Ashmolean's statuette might | | The date of 1902 on the Ashmolean's statuette might |
| suggest that it was cast after the large version and is a reduced | | suggest that it was cast after the large version and is a reduced |
| reproduction. It is, however, not an accurate reproduction. | | reproduction. It is, however, not an accurate reproduction. |
| 50 | | 50 |
| Among the minor differences are the more prominent flaps | | Among the minor differences are the more prominent flaps |
| to the bucklcd shoes and the position of the index finger over | | to the bucklcd shoes and the position of the index finger over |
| the lower part of the lens of the magnifying glass in the | | the lower part of the lens of the magnifying glass in the |
| statuette. It would seem likely that the statuette reproduces a | | statuette. It would seem likely that the statuette reproduces a |
| preliminary model and that the date, which is chiselled in the | | preliminary model and that the date, which is chiselled in the |
| metal and not reproduced from the model, is that of the | | metal and not reproduced from the model, is that of the |
| casting rather than the date when the model was made which | | casting rather than the date when the model was made which |
| is likely to have been 1898 or carly 1899. No other casts of | | is likely to have been 1898 or carly 1899. No other casts of |
| the statuette are known to us. It may have been made for the | | the statuette are known to us. It may have been made for the |
| Pricstley family to which the former owner, Charles Priestley, | | Pricstley family to which the former owner, Charles Priestley, |
| is thought to have belonged. | | is thought to have belonged. |
| Drury's later and far more familiar statue of Sir Joshua | | Drury's later and far more familiar statue of Sir Joshua |
| Reynolds in the forecourt of Burlington House is very similar | | Reynolds in the forecourt of Burlington House is very similar |
| in style and conception. | | in style and conception. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Probably foundry of Alessandro Parlanti, Parson's Green, | | Probably foundry of Alessandro Parlanti, Parson's Green, |
| Fulham, or of Singer, Frome, Somerset | | Fulham, or of Singer, Frome, Somerset |
| After [Edward] Alfrcd [Briscoc] DRURY ( 1856-1944) | | After [Edward] Alfrcd [Briscoc] DRURY ( 1856-1944) |
| n | | n | @@PROCESS |
| 484. Inspiration | | 484. Inspiration |
| 60.5 cms. (height including integral bronze base); 4 cms. (height | | 60.5 cms. (height including integral bronze base); 4 cms. (height |
| of plinth); 22.7 cms. (1engiv of plinth); 20.6 cms. (width of | | of plinth); 22.7 cms. (1engiv of plinth); 20.6 cms. (width of |
| plinth) | | plinth) |
| Bronz: with a deep green patina. Hollow, lost-wax, cast in one | | Bronz: with a deep green patina. Hollow, lost-wax, cast in one |
| piece. Mounted on a plinth with four bronze fcct at the corners | | piece. Mounted on a plinth with four bronze fcct at the corners |
| and decorated with fillets of connemara green marble (one fillet | | and decorated with fillets of connemara green marble (one fillet |
| behind missing). Incised in the model on the base proper left below | | behind missing). Incised in the model on the base proper left below |
| edge of drapery: `A Drury 08'. | | edge of drapery: `A Drury 08'. |
| Bequeathed by the Revd I. W. R Brocklcbank in November 1926. | | Bequeathed by the Revd I. W. R Brocklcbank in November 1926. |
| No. 3 on Andrew Shirley's receipt of January 1927 (`A Statuette | | No. 3 on Andrew Shirley's receipt of January 1927 (`A Statuette |
| Female draped figure holding laurcls' ) and never subsequently | | Female draped figure holding laurcls' ) and never subsequently |
| correctly named. Long off display; placed in 1988 in the newly | | correctly named. Long off display; placed in 1988 in the newly |
| decorated Combc Gallery. | | decorated Combc Gallery. |
| A version of the statucttc was exhibited at the Royal Academy | | A version of the statucttc was exhibited at the Royal Academy |
| in 1907 (no.1791) with the title `Inspiration-statuette, | | in 1907 (no.1791) with the title `Inspiration-statuette, |
| bronze, Study for statue for principal entrance, Victoria and | | bronze, Study for statue for principal entrance, Victoria and |
| Albert Museun'. It was companion with Kceow/GdgG, also for | | Albert Museun'. It was companion with Kceow/GdgG, also for |
| the principal entrance (no. 1780). Panels for the same | | the principal entrance (no. 1780). Panels for the same |
| Museum, including the `panel to be erected over the | | Museum, including the `panel to be erected over the |
| entrance', were exhibited by Drury in the following year (as | | entrance', were exhibited by Drury in the following year (as |
| nos. 1847, 1855, and 1863). The scheme had been agreed | | nos. 1847, 1855, and 1863). The scheme had been agreed |
| by Aston Webb, the architect in 1905. The Portland stone | | by Aston Webb, the architect in 1905. The Portland stone |
| statues of J"fp¢.7i¢£¢.o» and K"ow/GofzgG still flank the Museum's | | statues of J"fp¢.7i¢£¢.o» and K"ow/GofzgG still flank the Museum's |
| principal entrance but differ in several respects from the | | principal entrance but differ in several respects from the |
| statuettes. In the case of J»fp¢.#¢£G.o„ the right knee is drawn | | statuettes. In the case of J»fp¢.#¢£G.o„ the right knee is drawn |
| up in the statue and the cloak meets at her feet- difference | | up in the statue and the cloak meets at her feet- difference |
| conditioned by the tight nicheutnd the book is more clearly | | conditioned by the tight nicheutnd the book is more clearly |
| distinguished from the laurel-both for clarity when viewed | | distinguished from the laurel-both for clarity when viewed |
| from a distance and from below and because it was easier to | | from a distance and from below and because it was easier to |
| carve these simpler forms. Another version of this statuette is | | carve these simpler forms. Another version of this statuette is |
| known to me (paired with a J{»ow/c/gG) on the I.ondon art | | known to me (paired with a J{»ow/c/gG) on the I.ondon art |
| market. This version, hke the Ashmolean's, is dated 1908 and | | market. This version, hke the Ashmolean's, is dated 1908 and |
| so it is unlikely to bc the one exhibited in the previous year | | so it is unlikely to bc the one exhibited in the previous year |
| (mustrated in the albums in the Royal Academy Library). A | | (mustrated in the albums in the Royal Academy Library). A |
| cast of I"fp¢.r¢f¢.o„ dated 1909 with one of K#ow/c/E9c dated | | cast of I"fp¢.r¢f¢.o„ dated 1909 with one of K#ow/c/E9c dated |
| 1916, both on Connemara marble plinths, were lot 56 at | | 1916, both on Connemara marble plinths, were lot 56 at |
| Christie's, I.ondon, 23 May 1991. They were marked `Tiffany | | Christie's, I.ondon, 23 May 1991. They were marked `Tiffany |
| & Co.'-the firm which seems to have marketed Drury's | | & Co.'-the firm which seems to have marketed Drury's |
| bronzes in the United States. | | bronzes in the United States. |
| 52 | | 52 |
| Probably foundry of Alcssandro Parlanti, Parson's Green, | | Probably foundry of Alcssandro Parlanti, Parson's Green, |
| Fulham, or of Singer, Fromc, Somerset | | Fulham, or of Singer, Fromc, Somerset |
| After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) | | After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) |
| n | | n | @@PROCESS |
| 485. Sculpture | | 485. Sculpture |
| 20.55 cms. (height of figure including bronze base); 3.3 cms. | | 20.55 cms. (height of figure including bronze base); 3.3 cms. |
| (height of plinth); 10.5 cms. (length of plinth); 9.4 cms. (width | | (height of plinth); 10.5 cms. (length of plinth); 9.4 cms. (width |
| of plinth) | | of plinth) |
| Bronze with a pale grccn patina (less bright green than the J„/¢7?f | | Bronze with a pale grccn patina (less bright green than the J„/¢7?f |
| B¢cc¢#f, No. 486, or the G".fc/d¢, No. 481); some verdigris around | | B¢cc¢#f, No. 486, or the G".fc/d¢, No. 481); some verdigris around |
| crown and elsewhere. Hollow, lost-wax, cast. Mounted on the plinth | | crown and elsewhere. Hollow, lost-wax, cast. Mounted on the plinth |
| of pale serpentine. Incised `A. Drury' in the model on the base | | of pale serpentine. Incised `A. Drury' in the model on the base |
| behind the figure. | | behind the figure. |
| Bequeathed by the Revd J. W. R Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R Brocklebank in November 1926. |
| No. 26 on Andrew Shirley's receipt of January 1927 (`reclining | | No. 26 on Andrew Shirley's receipt of January 1927 (`reclining |
| female figure with a laurel wreath and an effigy'). | | female figure with a laurel wreath and an effigy'). |
| Uncertain how the figure should be labcllcd, C. F. Bell | | Uncertain how the figure should be labcllcd, C. F. Bell |
| enquired of the sculptor himself. Drury wrote on 16 May | | enquired of the sculptor himself. Drury wrote on 16 May |
| 1929 explaining that `the crouched woman's figure is the | | 1929 explaining that `the crouched woman's figure is the |
| same as that on the right hand corner at the top of the marble | | same as that on the right hand corner at the top of the marble |
| frame of the John Oliver Hobbs [f¢.c] memorial in the I.ondon | | frame of the John Oliver Hobbs [f¢.c] memorial in the I.ondon |
| University I.ibrary'. He suggested that Bell might call it `What | | University I.ibrary'. He suggested that Bell might call it `What |
| you like'. | | you like'. |
| John Oliver Hobbes was the pseudonym of Pearl Mary- | | John Oliver Hobbes was the pseudonym of Pearl Mary- |
| Tercsa CraiSc (nee Richards), a star of Edinburgh high | | Tercsa CraiSc (nee Richards), a star of Edinburgh high |
| society whose elegant novels and plays were enormously | | society whose elegant novels and plays were enormously |
| popular and are now almost entirely forgotten. When she | | popular and are now almost entirely forgotten. When she |
| died aged 38 in 1906 her friends subscribed for a monument | | died aged 38 in 1906 her friends subscribed for a monument |
| to be erected in University College where she had been | | to be erected in University College where she had been |
| educated. Since she was much admired in her native America | | educated. Since she was much admired in her native America |
| it was decided to open a parallel subscription there under the | | it was decided to open a parallel subscription there under the |
| auspices of Joseph Choatc, the American ambassador. This | | auspices of Joseph Choatc, the American ambassador. This |
| was a success and a rephca of the monument was | | was a success and a rephca of the monument was |
| commissioned and Barnard College selected as a suitable | | commissioned and Barnard College selected as a suitable |
| location, no doubt because Mrs Choate was a trustee and | | location, no doubt because Mrs Choate was a trustee and |
| had helped found the institution. The only direct connection | | had helped found the institution. The only direct connection |
| would seem to have been that Mrs Craigie had lectured with | | would seem to have been that Mrs Craigie had lectured with |
| great success to the Barnard Union on Botticelli and Dante | | great success to the Barnard Union on Botticelli and Dante |
| in the December before she died (B¢7'79¢7i¢ B#//e£¢.» ( 11 | | in the December before she died (B¢7'79¢7i¢ B#//e£¢.» ( 11 |
| Deccmbcr 1905),1). | | Deccmbcr 1905),1). |
| After some searching the memorial was declared in a letter | | After some searching the memorial was declared in a letter |
| to mc of October 1986 to be no longer in University College | | to mc of October 1986 to be no longer in University College |
| Library and the suggestion made that it was a victim of war | | Library and the suggestion made that it was a victim of war |
| damage, but on a more intensive search it was discovered on | | damage, but on a more intensive search it was discovered on |
| the wall above the entrance to `Enquiries and Take Out'. The | | the wall above the entrance to `Enquiries and Take Out'. The |
| replica of the monument seems to have been erected in the | | replica of the monument seems to have been erected in the |
| theatre of Barnard College. It was taken down when the | | theatre of Barnard College. It was taken down when the |
| theatre was rcnovatcd and was in March of 1983 on the | | theatre was rcnovatcd and was in March of 1983 on the |
| basement floor outside the Central Records Office when there | | basement floor outside the Central Records Office when there |
| were moves to re-erect it again. When I called in late August | | were moves to re-erect it again. When I called in late August |
| 1988 it could not be found, although it had recently been | | 1988 it could not be found, although it had recently been |
| seen in a store room. | | seen in a store room. |
| In the University College version the bronze profile relief | | In the University College version the bronze profile relief |
| Portrait and the laurel crown against the smokey pink marble | | Portrait and the laurel crown against the smokey pink marble |
| apron below have been crudely daubed with `gold' paint | | apron below have been crudely daubed with `gold' paint |
| which has dribbled. The relief portrait is signed and dated | | which has dribbled. The relief portrait is signed and dated |
| 1908. The tablet is crowned with two `bronze statuettes: a | | 1908. The tablet is crowned with two `bronze statuettes: a |
| version of the Ashmolcan's figure but holding a mask | | version of the Ashmolcan's figure but holding a mask |
| (resembling, at first sight, a scvercd head) in place ofa statucttc | | (resembling, at first sight, a scvercd head) in place ofa statucttc |
| and a figure, similarly posed but in revcrsc, holding a wreath | | and a figure, similarly posed but in revcrsc, holding a wreath |
| and a book. The general scheme seems to have been invcntcd | | and a book. The general scheme seems to have been invcntcd |
| by Frampton for his memorial to Charles Kecne ( 1896, Tatc | | by Frampton for his memorial to Charles Kecne ( 1896, Tatc |
| Gallery). Drury exhibited a `Mural Tablet to the late Pearl | | Gallery). Drury exhibited a `Mural Tablet to the late Pearl |
| Mary Teresa Craigie ("John Oliver Hobbes") To be erected | | Mary Teresa Craigie ("John Oliver Hobbes") To be erected |
| at University College, I.ondon and in America' at the Royal | | at University College, I.ondon and in America' at the Royal |
| Academy in 1908 (no.1943) and a silver plaque of her, | | Academy in 1908 (no.1943) and a silver plaque of her, |
| possibly identical to the portrait relief in the tablet but in | | possibly identical to the portrait relief in the tablet but in |
| another medium, in 1910 (no. 1839). | | another medium, in 1910 (no. 1839). |
| Separate casts seem to have been made of the other | | Separate casts seem to have been made of the other |
| allegorical figure crowning the memorial. One entitled | | allegorical figure crowning the memorial. One entitled |
| L¢.£g#¢f#rc was no. 133 in the exhibition held at Foyles Art | | L¢.£g#¢f#rc was no. 133 in the exhibition held at Foyles Art |
| Gancry, London, 10 October-I November 1968, entitled | | Gancry, London, 10 October-I November 1968, entitled |
| `Collector's Luck, paintings, sculpture . . . in the collection of | | `Collector's Luck, paintings, sculpture . . . in the collection of |
| Mr Stowers Johnson'. It may be that Drury's rcplaccmcnt of | | Mr Stowers Johnson'. It may be that Drury's rcplaccmcnt of |
| the mask with a statuette made the Ashmolean's figure into | | the mask with a statuette made the Ashmolean's figure into |
| an allegory of sculpture (as distinct from Drama which would | | an allegory of sculpture (as distinct from Drama which would |
| have suited Hobbes). If so it might have been done to sell it | | have suited Hobbes). If so it might have been done to sell it |
| as a pair with a kneeting personification of Painting holding | | as a pair with a kneeting personification of Painting holding |
| a palette, examples of which have been on the I.ondon art | | a palette, examples of which have been on the I.ondon art |
| market in recent years (Fine Art Society, October 1973; | | market in recent years (Fine Art Society, October 1973; |
| Christie's, 3 April 1985, No. 207-subsequently Agnews, | | Christie's, 3 April 1985, No. 207-subsequently Agnews, |
| wiriter r985. Old Master Drawings and Scttlpture, rro. 76). | | wiriter r985. Old Master Drawings and Scttlpture, rro. 76). |
| The manner in which the hair and drapery are built up in | | The manner in which the hair and drapery are built up in |
| long thin, flat strips is highly characteristic of Dniry and | | long thin, flat strips is highly characteristic of Dniry and |
| perhaps reflects his use of plasticine as well as wax and clay as | | perhaps reflects his use of plasticine as well as wax and clay as |
| a material for modelling. The type of twisted kneeling pose | | a material for modelling. The type of twisted kneeling pose |
| reflects Drury's fascination with the work of Alfred Stevens, | | reflects Drury's fascination with the work of Alfred Stevens, |
| many of whose drawings hc owned (and some of which are | | many of whose drawings hc owned (and some of which are |
| now in the Ashmolean). | | now in the Ashmolean). |
| 53 | | 53 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| 54 | | 54 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably foundry of Alessandro Parlanti, Parson's Green, | | Probably foundry of Alessandro Parlanti, Parson's Green, |
| Fulham, or of singer, Fromc, Somerset | | Fulham, or of singer, Fromc, Somerset |
| After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) | | After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) |
| n | | n | @@PROCESS |
| 486. Infant Bacchus | | 486. Infant Bacchus |
| 24.1 cms. (height of figure including integral bronze base); | | 24.1 cms. (height of figure including integral bronze base); |
| 8.2 cms. (diameter of bronze base) | | 8.2 cms. (diameter of bronze base) |
| Bronze with a green patina, slightly scratched on the figure's back | | Bronze with a green patina, slightly scratched on the figure's back |
| to reveal yellow metal. Hollow, heavy, cast. Iron armature in | | to reveal yellow metal. Hollow, heavy, cast. Iron armature in |
| interior. Incised `A Drury' (the initial indistinct because of. burr) in | | interior. Incised `A Drury' (the initial indistinct because of. burr) in |
| the model on the side of the tree-trunk. Original onyx plinth (see | | the model on the side of the tree-trunk. Original onyx plinth (see |
| below) untraccd. | | below) untraccd. |
| Bequeathed by the Revd J. W. R Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R Brocklebank in November 1926. |
| No. 31 on Andrew Shirlcy's rcccipt of January 1927 (`A young | | No. 31 on Andrew Shirlcy's rcccipt of January 1927 (`A young |
| Bacchanal holding a wine cup 92J' high by A. Drury on onyx plinth'). | | Bacchanal holding a wine cup 92J' high by A. Drury on onyx plinth'). |
| Uncertain how the figure should be labelled, C. F. Bell | | Uncertain how the figure should be labelled, C. F. Bell |
| enquired of the sculptor himself. Drury rcphicd on 16 May | | enquired of the sculptor himself. Drury rcphicd on 16 May |
| 1929 explaining `The little boy in bronze is a study for a panel | | 1929 explaining `The little boy in bronze is a study for a panel |
| which I did for the I.ivcr Insurance in Piccadilly' and urSng | | which I did for the I.ivcr Insurance in Piccadilly' and urSng |
| him to call it `what you like'. The building to which Drury | | him to call it `what you like'. The building to which Drury |
| rcfcrs is no.161 Piccadilly, on the corner of st James's Strcct, | | rcfcrs is no.161 Piccadilly, on the corner of st James's Strcct, |
| now the Bradford and Binglcy Building Society, origivally the | | now the Bradford and Binglcy Building Society, origivally the |
| office of the Royal Insurance Company. A photograph of | | office of the Royal Insurance Company. A photograph of |
| 1909 in the National Monuments Record (NBR DD60/125) | | 1909 in the National Monuments Record (NBR DD60/125) |
| shows it as it was shortly after opening. Drury cxhibitcd his | | shows it as it was shortly after opening. Drury cxhibitcd his |
| `Panel over Entrance, Royal Insurance Office, St James's | | `Panel over Entrance, Royal Insurance Office, St James's |
| Street' at the Royal Academy in that year (no. 1738), probably | | Street' at the Royal Academy in that year (no. 1738), probably |
| as a plaster. The Royal Insurance building is one of the most | | as a plaster. The Royal Insurance building is one of the most |
| aggressively chunky examples of Edwardian baroque | | aggressively chunky examples of Edwardian baroque |
| architecture in the West End of I.ondon. It also features a | | architecture in the West End of I.ondon. It also features a |
| cornice supported by paired nude boys in recesses beside | | cornice supported by paired nude boys in recesses beside |
| oricl windows. Drury's panel, which is placed over the Doric | | oricl windows. Drury's panel, which is placed over the Doric |
| entrance in the chamfered corner of the building between | | entrance in the chamfered corner of the building between |
| Piccadilly and St James's Street, is carved in Portland Stone. | | Piccadilly and St James's Street, is carved in Portland Stone. |
| It consists of two putti whose twisted poses respond to the | | It consists of two putti whose twisted poses respond to the |
| shape of the cartouche between them, and one of these figures | | shape of the cartouche between them, and one of these figures |
| is closely related to the Ashmolcan's bronze. Drapery, | | is closely related to the Ashmolcan's bronze. Drapery, |
| howcvcr, covers his hair, oak lcavcs from a branch emerging | | howcvcr, covers his hair, oak lcavcs from a branch emerging |
| from under the cartouche conceal his genitals, and in his right | | from under the cartouche conceal his genitals, and in his right |
| hand he holds an ohvc branch to form a crown to the | | hand he holds an ohvc branch to form a crown to the |
| Company's emblem of a stork holding a twig in its beak. | | Company's emblem of a stork holding a twig in its beak. |
| It sccms unlikely that Drury can ever have seriously | | It sccms unlikely that Drury can ever have seriously |
| proposed givng this child the attributes of Bacchus which | | proposed givng this child the attributes of Bacchus which |
| could not have been appropriate for an insurance company | | could not have been appropriate for an insurance company |
| and we must question his claim that it is a `study for' the | | and we must question his claim that it is a `study for' the |
| panel. More likely hc saw that the torsion devised for | | panel. More likely hc saw that the torsion devised for |
| decorative purposes could be given a narrative meaning (or, | | decorative purposes could be given a narrative meaning (or, |
| possibly, hc had cahier studies for a Bacchic subject in the | | possibly, hc had cahier studies for a Bacchic subject in the |
| manner of Jules Dalou in whose Paris studio Drury had | | manner of Jules Dalou in whose Paris studio Drury had |
| worked between 1881 and 1885 which he adapted for the | | worked between 1881 and 1885 which he adapted for the |
| panel; after all the first sculpture he exhibited at the Royal | | panel; after all the first sculpture he exhibited at the Royal |
| Academy, in 1885, was A £7"."owP¢ a/SG./e»#J). This was a | | Academy, in 1885, was A £7"."owP¢ a/SG./e»#J). This was a |
| period in which modern bronze statuettes were most in vogue | | period in which modern bronze statuettes were most in vogue |
| and there are other instances of Drury modifying | | and there are other instances of Drury modifying |
| commissioned pieces in order to create statuettes of a | | commissioned pieces in order to create statuettes of a |
| domestic scale (cf. Nos. 483, 484). The figure is suggestive | | domestic scale (cf. Nos. 483, 484). The figure is suggestive |
| of enchantment as well as of intoxication and is comparable | | of enchantment as well as of intoxication and is comparable |
| in feeling with the C¢.7.cG which Drury exhibited at the Royal | | in feeling with the C¢.7.cG which Drury exhibited at the Royal |
| Academy in 1893, and had cast in bronze in the following | | Academy in 1893, and had cast in bronze in the following |
| year (this is now in the grounds of Lecds City An Gallery). | | year (this is now in the grounds of Lecds City An Gallery). |
| The mood is also found in Frederick Macmonnics's B¢ccha#£g | | The mood is also found in Frederick Macmonnics's B¢ccha#£g |
| of 1896 (Metropolitan Museum, New York, and elsewhere). | | of 1896 (Metropolitan Museum, New York, and elsewhere). |
| For the modelling in flat strips, very evident in the treatment | | For the modelling in flat strips, very evident in the treatment |
| of bark and hair, see No. 485. | | of bark and hair, see No. 485. |
| 55 | | 55 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably foundry of Alessandro Parlanti, Parson's Green, | | Probably foundry of Alessandro Parlanti, Parson's Green, |
| Fulham, or of Singer, Frome, Somerset | | Fulham, or of Singer, Frome, Somerset |
| After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) | | After [Edward] Alfred [Briscoe] DRURY ( 1856-1944) |
| n | | n | @@PROCESS |
| 487. Crouching female nude | | 487. Crouching female nude |
| (a Lifith) | | (a Lifith) |
| 18.5 cms. (height); 8.8 cms. (length of base); 7.8 cms. (width of | | 18.5 cms. (height); 8.8 cms. (length of base); 7.8 cms. (width of |
| base) | | base) |
| Bronze with a brown patina, varied from dark russet on base to | | Bronze with a brown patina, varied from dark russet on base to |
| yellow-brown on chest; spots of verdigris in the interstices; hollow | | yellow-brown on chest; spots of verdigris in the interstices; hollow |
| (probably lost-wax) cast; iron armature wire in the interior; inscribed | | (probably lost-wax) cast; iron armature wire in the interior; inscribed |
| `A. DRURy.1912' in the model across the back of the rough rock | | `A. DRURy.1912' in the model across the back of the rough rock |
| base. | | base. |
| Given by Cyril da Costa Andrade, of Morocco House, Bayard's | | Given by Cyril da Costa Andrade, of Morocco House, Bayard's |
| Cove, Dartmouth, Devon, 1956, together with the figure by Phoebc | | Cove, Dartmouth, Devon, 1956, together with the figure by Phoebc |
| Stabler (No. 570). RCSstcred on 3 October. Mr Andradc gave and | | Stabler (No. 570). RCSstcred on 3 October. Mr Andradc gave and |
| bequeathed many items to the museum but most of these were | | bequeathed many items to the museum but most of these were |
| ceramics-see No. 457 especially. | | ceramics-see No. 457 especially. |
| The yearning look of the figure and the attitude suggest more | | The yearning look of the figure and the attitude suggest more |
| than the usual pretexts for movement in a female nude+the | | than the usual pretexts for movement in a female nude+the |
| wringing-out or winding-up of hair. There is a relationship in | | wringing-out or winding-up of hair. There is a relationship in |
| 56 | | 56 |
| pose with the sculptor's marble statuette £¢./¢.£¢, his diploma | | pose with the sculptor's marble statuette £¢./¢.£¢, his diploma |
| work, exhibited at the Royal Academy in 1916 (no.1941), | | work, exhibited at the Royal Academy in 1916 (no.1941), |
| although the head there is turned the other way to regard | | although the head there is turned the other way to regard |
| the snake sliding on her right arm. The rocky base is Similar | | the snake sliding on her right arm. The rocky base is Similar |
| in both works. Drury had exhibited a bronze statuette entitled | | in both works. Drury had exhibited a bronze statuette entitled |
| LG./¢.£4 at the Royal Academy in 1913 (as no. 2012; Ray#/ | | LG./¢.£4 at the Royal Academy in 1913 (as no. 2012; Ray#/ |
| Ac¢deowy P¢.cf"ref ¢"d Sc#/P£#yG (I.ondon,1913), pl. 7) and | | Ac¢deowy P¢.cf"ref ¢"d Sc#/P£#yG (I.ondon,1913), pl. 7) and |
| this might have bccn cast in the year before. What may have | | this might have bccn cast in the year before. What may have |
| been the same statuette was also exhibited there (as no. 1375) | | been the same statuette was also exhibited there (as no. 1375) |
| in 1945 (the year after his death). One other cast is known | | in 1945 (the year after his death). One other cast is known |
| to us-in the I.aing Art Gallery, Newcastle upon Tync-but | | to us-in the I.aing Art Gallery, Newcastle upon Tync-but |
| in it the fingers of one hand arc missing. It was made from a | | in it the fingers of one hand arc missing. It was made from a |
| broken model, perhaps posthumously, which would be | | broken model, perhaps posthumously, which would be |
| consistent with the identification as L¢./¢.£¢. Drury's fascination | | consistent with the identification as L¢./¢.£¢. Drury's fascination |
| with poses of this sort is well demonstrated by the symmetrical | | with poses of this sort is well demonstrated by the symmetrical |
| sequence of nine panels involving ten kneeling and crouching | | sequence of nine panels involving ten kneeling and crouching |
| women over the main entrance of the Victoria and Albert | | women over the main entrance of the Victoria and Albert |
| Museum (c.1908). | | Museum (c.1908). |
| Unknown foundry, perhaps that of Alessandro Parlanti, | | Unknown foundry, perhaps that of Alessandro Parlanti, |
| Parson's Green, Fulhan | | Parson's Green, Fulhan |
| After Sir Jacob EI'STEIN ( 1880-1959) | | After Sir Jacob EI'STEIN ( 1880-1959) |
| n | | n | @@PROCESS |
| 488. Noneen (Head of a girl) | | 488. Noneen (Head of a girl) |
| 33.7 cms. (height). | | 33.7 cms. (height). |
| Bronze with a very dark brown patina. Hollow, lost-wax, cast. | | Bronze with a very dark brown patina. Hollow, lost-wax, cast. |
| Mounted on the origival tapering black slate plinth now adorned | | Mounted on the origival tapering black slate plinth now adorned |
| with the title in gold letters. | | with the title in gold letters. |
| Bequeathed, together with a collection of English twentieth-century | | Bequeathed, together with a collection of English twentieth-century |
| paintings and drawings, by Thomas Balston in 1968 through the | | paintings and drawings, by Thomas Balston in 1968 through the |
| National Art-Collections Fund. Registered 8 February 1968. | | National Art-Collections Fund. Registered 8 February 1968. |
| The head was modelled in 1919 and shown at his successful | | The head was modelled in 1919 and shown at his successful |
| (and controversial) exhibition at the Ijciccstcr Galleries in the | | (and controversial) exhibition at the Ijciccstcr Galleries in the |
| following year (as no. 9.>). Up to six bronze casts seem to | | following year (as no. 9.>). Up to six bronze casts seem to |
| have been made. See E. Silber, 7Z7G Sc%/P£#„ a/Epf£GG.% | | have been made. See E. Silber, 7Z7G Sc%/P£#„ a/Epf£GG.% |
| (Oxford, 1986), 146, no. 106 (the Ashmolcan version, her | | (Oxford, 1986), 146, no. 106 (the Ashmolcan version, her |
| no. I, illustrated). According to Silber, Epstein tended to use | | no. I, illustrated). According to Silber, Epstein tended to use |
| Paulanti's foundry for portraits at this period (ibid. 116). | | Paulanti's foundry for portraits at this period (ibid. 116). |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| 57 | | 57 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Unknown foundry, perhaps that of Alessandro Parlanti, | | Unknown foundry, perhaps that of Alessandro Parlanti, |
| Parson's Green, Fulham | | Parson's Green, Fulham |
| After Sir Jacob EI'STEIN ( 1880-1959) | | After Sir Jacob EI'STEIN ( 1880-1959) |
| n | | n | @@PROCESS |
| 489. Peggy-Jean | | 489. Peggy-Jean |
| 22.5 cms. (height) | | 22.5 cms. (height) |
| Bronze with a mid-brown to yellow-brown patina. Hollow, lost-wax, | | Bronze with a mid-brown to yellow-brown patina. Hollow, lost-wax, |
| cast. Mounted on the original tapering black slate plinth, now | | cast. Mounted on the original tapering black slate plinth, now |
| adorned with title in gold letters. | | adorned with title in gold letters. |
| Bequeathed in 1945 by Roger Fulford through the National Art- | | Bequeathed in 1945 by Roger Fulford through the National Art- |
| Collections Fund. | | Collections Fund. |
| The sitter was the sculptor's first daughter, born in October | | The sitter was the sculptor's first daughter, born in October |
| 1918 and the subject of a series of busts from earliest infancy | | 1918 and the subject of a series of busts from earliest infancy |
| onwards. This is catalogucd by Evelyn Silber as the ninth | | onwards. This is catalogucd by Evelyn Silber as the ninth |
| portrait in the series and represents I'eggy-Jean laughing., | | portrait in the series and represents I'eggy-Jean laughing., |
| aged two years and nine months ( 777c Sc„/Pf"re a/Epj£G¢7¢ | | aged two years and nine months ( 777c Sc„/Pf"re a/Epj£G¢7¢ |
| (Oxford, 1986), 150, no. 124-the Ashmolean version, her | | (Oxford, 1986), 150, no. 124-the Ashmolean version, her |
| no. 3, illustrated). The sculpture was exhibited at the Leicester | | no. 3, illustrated). The sculpture was exhibited at the Leicester |
| Galleries in 1924. It seems then to have been available in an | | Galleries in 1924. It seems then to have been available in an |
| edition of up to six, but according to Lady Epstein, as cited | | edition of up to six, but according to Lady Epstein, as cited |
| by Shber, there was an edition of twelve. According to Silbcr | | by Shber, there was an edition of twelve. According to Silbcr |
| Epstein tended to use Parlanti's foundry for portraits at this | | Epstein tended to use Parlanti's foundry for portraits at this |
| period (ibid.116). | | period (ibid.116). |
| 58 | | 58 |
| I- | | I- |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| David EVANS ( 1895-1959) | | David EVANS ( 1895-1959) |
| n | | n | @@PROCESS |
| 490. Bust portrait of Sir Aithur | | 490. Bust portrait of Sir Aithur |
| John Evans D.Lit., FBA, FRS, etc. | | John Evans D.Lit., FBA, FRS, etc. |
| 66.5 cms. (height, including integral base); 19.5 cms. (length of | | 66.5 cms. (height, including integral base); 19.5 cms. (length of |
| integral base); 22.5 cms. (width of integral base) | | integral base); 22.5 cms. (width of integral base) |
| Carrara marble. Incised on the integral base to proper left: | | Carrara marble. Incised on the integral base to proper left: |
| `DAVID . EVANS.' Mounted on a wooden pedestal of tapering term | | `DAVID . EVANS.' Mounted on a wooden pedestal of tapering term |
| form painted white and adorned with standard `Georgian' ornaments | | form painted white and adorned with standard `Georgian' ornaments |
| painted gold. | | painted gold. |
| For provenance see below. | | For provenance see below. |
| Sir Arthur Evans ( 1851-1941 ) was Keeper of the Ashmolean | | Sir Arthur Evans ( 1851-1941 ) was Keeper of the Ashmolean |
| Museum from 1884 until 1908 and Honorary Keeper 1908- | | Museum from 1884 until 1908 and Honorary Keeper 1908- |
| 41. As is explained in the Introductory Essay in Volume I, he | | 41. As is explained in the Introductory Essay in Volume I, he |
| secured for the Museum Fortnum's collections and the funds | | secured for the Museum Fortnum's collections and the funds |
| which made possible the transfer of the Ashmolean Museum | | which made possible the transfer of the Ashmolean Museum |
| to the University Galleries. He is most famous for his | | to the University Galleries. He is most famous for his |
| excavations in Crete. The bust was presented to Sir Arthur | | excavations in Crete. The bust was presented to Sir Arthur |
| Evans by the Rt. Hon. Lord Rennell representing `friends | | Evans by the Rt. Hon. Lord Rennell representing `friends |
| and colleagues' at 4.15 on 17 December 1934 in the Rooms | | and colleagues' at 4.15 on 17 December 1934 in the Rooms |
| of the Society of Antiquaries, Burlington House. A printed | | of the Society of Antiquaries, Burlington House. A printed |
| circular (kept among the Evans papers in the Department of | | circular (kept among the Evans papers in the Department of |
| Antiquities) lists the friends and colleagues-vcr 300 of | | Antiquities) lists the friends and colleagues-vcr 300 of |
| them-mostly archaeologists, but including C. F. Bell and | | them-mostly archaeologists, but including C. F. Bell and |
| Kcnncth Clark, who may be presumed to have subscribed | | Kcnncth Clark, who may be presumed to have subscribed |
| for the bust not long before. The bust was exhibited at the | | for the bust not long before. The bust was exhibited at the |
| Royal Academy in 1937 (as no.1451). It may be assumed | | Royal Academy in 1937 (as no.1451). It may be assumed |
| that the bust was acquired by the Museum after Evans's death | | that the bust was acquired by the Museum after Evans's death |
| in 1941 : it was never regarded as belongivg to the | | in 1941 : it was never regarded as belongivg to the |
| Department of western Art and, not being a work of ancient | | Department of western Art and, not being a work of ancient |
| art, its acquisition seems not to have been recorded by the | | art, its acquisition seems not to have been recorded by the |
| Department of Antiquities. The sculptor, David Evans, was | | Department of Antiquities. The sculptor, David Evans, was |
| not related to Sir Arthur. He was born in Manchester, studied | | not related to Sir Arthur. He was born in Manchester, studied |
| at the Manchester School of Art, the Royal College of Art | | at the Manchester School of Art, the Royal College of Art |
| (with a National Scholarship), and the Royal Academy | | (with a National Scholarship), and the Royal Academy |
| Schools (where hc was a British Institution Scholar in 1921 | | Schools (where hc was a British Institution Scholar in 1921 |
| and a Landseer Scholar in 1922 and won the Rome Prize). | | and a Landseer Scholar in 1922 and won the Rome Prize). |
| Hc exhibited at the Royal Academy from 1921. In the | | Hc exhibited at the Royal Academy from 1921. In the |
| Dictionary Of Contemporary British Arts o£ L92;9 (ed. 8. | | Dictionary Of Contemporary British Arts o£ L92;9 (ed. 8. |
| Dolman) hc described himself as a `modernist sculptor and | | Dolman) hc described himself as a `modernist sculptor and |
| carver'). It may have been the success of his portraits of John | | carver'). It may have been the success of his portraits of John |
| Galsworthy and Hugh Walpole shown at the Academy in | | Galsworthy and Hugh Walpole shown at the Academy in |
| 1929 and 1931 that prompted the commission of the bust | | 1929 and 1931 that prompted the commission of the bust |
| of iThur Evans. | | of iThur Evans. |
| 59 | | 59 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Francesco FANELLI (active 1609nd2 ) | | Francesco FANELLI (active 1609nd2 ) |
| n | | n | @@PROCESS |
| 491. Fountain-head in the form of | | 491. Fountain-head in the form of |
| Cupid, blindfold, riding a dolphin | | Cupid, blindfold, riding a dolphin |
| 12.9 cms. (height); 8.5 cms. (length); 6.7cms. (width); 11.3 cms. | | 12.9 cms. (height); 8.5 cms. (length); 6.7cms. (width); 11.3 cms. |
| (length of ebony base; 8.8 cms. width of same) | | (length of ebony base; 8.8 cms. width of same) |
| Bronze with fire-Slding won at the most salient points (especially | | Bronze with fire-Slding won at the most salient points (especially |
| in the arms and right leg of Cupid) to reveal a yellow metal. Some | | in the arms and right leg of Cupid) to reveal a yellow metal. Some |
| black tarnishing in the hollows. Very thin-walled, hollow, lost-wax, | | black tarnishing in the hollows. Very thin-walled, hollow, lost-wax, |
| cast. There is a firing crack at the point of contact between the tat | | cast. There is a firing crack at the point of contact between the tat |
| of the dolphin and Cupid. The wing behind Cupid's right shoulder | | of the dolphin and Cupid. The wing behind Cupid's right shoulder |
| is broken off. A plug is evident beside the quiver and in Cupid's | | is broken off. A plug is evident beside the quiver and in Cupid's |
| right thigh. The bow is missing from Cupid's left hand where minute | | right thigh. The bow is missing from Cupid's left hand where minute |
| traces of solder remain. The hole between the finger and thumb of | | traces of solder remain. The hole between the finger and thumb of |
| Cupid's right hand has apparently been drilled, presumably to take | | Cupid's right hand has apparently been drilled, presumably to take |
| a bow string. There are holes in the bronze (e.g. on top of the | | a bow string. There are holes in the bronze (e.g. on top of the |
| head), some of them caused by chaplet pins. Three such pins are | | head), some of them caused by chaplet pins. Three such pins are |
| still in place in the integral naturalistic base. A small arched aperture | | still in place in the integral naturalistic base. A small arched aperture |
| is cut out of the back of this base, presumably to admit a pipe which | | is cut out of the back of this base, presumably to admit a pipe which |
| enabled the dolphin to spout. Mounted on an oval, moulded, base | | enabled the dolphin to spout. Mounted on an oval, moulded, base |
| of ebonized wood. `8.434 G' is painted in black on the rim of the | | of ebonized wood. `8.434 G' is painted in black on the rim of the |
| integral bronze base. | | integral bronze base. |
| I.ent by C. D. E. Fortnum in March 1888 and given later in the | | I.ent by C. D. E. Fortnum in March 1888 and given later in the |
| same year. 8.423 in his catalogues. `1 bought it in Italy', Fortn`rm | | same year. 8.423 in his catalogues. `1 bought it in Italy', Fortn`rm |
| observed in his large catalogue, but there is no note of provenance | | observed in his large catalogue, but there is no note of provenance |
| in the earlier notebook catalogue. A manuscript sheet headed | | in the earlier notebook catalogue. A manuscript sheet headed |
| `Memoranda of prices pald', includes the entry under 1859 `Br. | | `Memoranda of prices pald', includes the entry under 1859 `Br. |
| Cupid on Dolphin dlt' for the sum of £2 10j.. | | Cupid on Dolphin dlt' for the sum of £2 10j.. |
| Fortnum who seldom expressed his enthusiasm in his | | Fortnum who seldom expressed his enthusiasm in his |
| catalogue had recourse to slang in describing the merits of | | catalogue had recourse to slang in describing the merits of |
| this tittle bronze: `thc vigorous action and "go" denotes the | | this tittle bronze: `thc vigorous action and "go" denotes the |
| modching of an able ha.nd'. Hc considered it to be `probably | | modching of an able ha.nd'. Hc considered it to be `probably |
| Venetian' and of the mid-sixtccnth century and observed that | | Venetian' and of the mid-sixtccnth century and observed that |
| `it probably fomed part of a table fountain, a pipe having | | `it probably fomed part of a table fountain, a pipe having |
| passed from behind through the dolphin's mouth'. On the | | passed from behind through the dolphin's mouth'. On the |
| opposite page of his notebook catalogue hc recorded the | | opposite page of his notebook catalogue hc recorded the |
| version in the collection of sir RIchard Wallace, an ungrded | | version in the collection of sir RIchard Wallace, an ungrded |
| bronze today in the Wallace Collection (S85), which differs | | bronze today in the Wallace Collection (S85), which differs |
| in minor details (having a different cap and fluttering ribbons | | in minor details (having a different cap and fluttering ribbons |
| on the quiver for instance), is better preserved, but is a similarly | | on the quiver for instance), is better preserved, but is a similarly |
| thin cast (now stopped up with wax) with firing cracks in one | | thin cast (now stopped up with wax) with firing cracks in one |
| arm and on top of Cupid's right wing. Bode included the | | arm and on top of Cupid's right wing. Bode included the |
| WalLacc bronze .in his Italian Bronac Statuettes Of the | | WalLacc bronze .in his Italian Bronac Statuettes Of the |
| Rc"¢¢.fj¢#cc (London, 1907-12), ii, pl. Cljxv) as Venetian | | Rc"¢¢.fj¢#cc (London, 1907-12), ii, pl. Cljxv) as Venetian |
| and of about 1575. C. F. Bell added a note to Fortnum's | | and of about 1575. C. F. Bell added a note to Fortnum's |
| large catalogue that another example was in the collection of | | large catalogue that another example was in the collection of |
| Alfred Beit and had been exhibited at the Royal Academy in | | Alfred Beit and had been exhibited at the Royal Academy in |
| the winter exhibition of 1904. Bode included this in his | | the winter exhibition of 1904. Bode included this in his |
| Italian Bronac Statuettes Of the Renaissance (i, pl. XLI1) as | | Italian Bronac Statuettes Of the Renaissance (i, pl. XLI1) as |
| Florentine in origiv, or at least influence, and of the mid-sixteenth | | Florentine in origiv, or at least influence, and of the mid-sixteenth |
| century. (This version remains in the Beit Collection | | century. (This version remains in the Beit Collection |
| at Russborough.) Another version was in the collection of | | at Russborough.) Another version was in the collection of |
| the dcalcr T. M. Whitehead sold Christie's, London, 10 May | | the dcalcr T. M. Whitehead sold Christie's, London, 10 May |
| 1898, lot 101 (with a provenance from the Junze Collection | | 1898, lot 101 (with a provenance from the Junze Collection |
| sold seven years before in Paris): this was acquired by George | | sold seven years before in Paris): this was acquired by George |
| Salting and formed part of his bequest to the Victoria and | | Salting and formed part of his bequest to the Victoria and |
| 60 | | 60 |
| Albert Museum (A.103-1910). This last version is gilded, like | | Albert Museum (A.103-1910). This last version is gilded, like |
| the Ashmolcan's, but, as with the Wallace bronze, there are | | the Ashmolcan's, but, as with the Wallace bronze, there are |
| minor variations in the modelling-the dolphin's tat does not | | minor variations in the modelling-the dolphin's tat does not |
| make contact with Cupid's thigh as it does in the Oxford | | make contact with Cupid's thigh as it does in the Oxford |
| version-nd there are similar imperfections in the casting. | | version-nd there are similar imperfections in the casting. |
| There is also a variant of the group in which a very similar | | There is also a variant of the group in which a very similar |
| Cupid, but without a blindfold and with his right hand futhcr | | Cupid, but without a blindfold and with his right hand futhcr |
| back, as if hc had just shot his bow, is seated on the dolphin's | | back, as if hc had just shot his bow, is seated on the dolphin's |
| back. A version is in the National Gallery of Art in Washington | | back. A version is in the National Gallery of Art in Washington |
| (A.203.4lc) displayed as `Venetian, second half of the | | (A.203.4lc) displayed as `Venetian, second half of the |
| sixtccnth ccntury' (following J. Pope-Hennessy, Coowp/c£G | | sixtccnth ccntury' (following J. Pope-Hennessy, Coowp/c£G |
| Catalogtte Of the Sunttel H. Kress Collection.. Renaissance | | Catalogtte Of the Sunttel H. Kress Collection.. Renaissance |
| Brt7»2;eJ (Ijondon,1965), no. 520, fig. 553); another was at | | Brt7»2;eJ (Ijondon,1965), no. 520, fig. 553); another was at |
| Christic's, I.ondon,13 December 1988, lot 136 | | Christic's, I.ondon,13 December 1988, lot 136 |
| (uniuustratcd), and a third, Slded, version, attached to a | | (uniuustratcd), and a third, Slded, version, attached to a |
| fohatc backplate, scrvcd as the spout for a Ming blue and | | fohatc backplate, scrvcd as the spout for a Ming blue and |
| white baluster vase adapted as a table cistcm which was at | | white baluster vase adapted as a table cistcm which was at |
| Christie's, I.ondon, 6 December 1988 (mustrated there and | | Christie's, I.ondon, 6 December 1988 (mustrated there and |
| also in Christie'§ International Magazine (RIov.-Dec. \988), | | also in Christie'§ International Magazine (RIov.-Dec. \988), |
| 46-7). These may bc invented at a later date than the more | | 46-7). These may bc invented at a later date than the more |
| crisply modelled and dynamically composed group of the | | crisply modelled and dynamically composed group of the |
| standing, blindfold Cupid. In any case they sccm to have been | | standing, blindfold Cupid. In any case they sccm to have been |
| cast at a later date for one such group appears on a clock of | | cast at a later date for one such group appears on a clock of |
| about 1685 made for the English Crown by the ljondon | | about 1685 made for the English Crown by the ljondon |
| maker Jeremic Gregory (Victoria and Albert Museum, W. 35- | | maker Jeremic Gregory (Victoria and Albert Museum, W. 35- |
| 1976). | | 1976). |
| Anthony Radcliffc, who first noted the version on the clock, | | Anthony Radcliffc, who first noted the version on the clock, |
| was also the first to note that the Cupids in thcsc bronzes | | was also the first to note that the Cupids in thcsc bronzes |
| are of the same type (possibly even from the same model) as | | are of the same type (possibly even from the same model) as |
| one that rides a galloping wild-maned horse in a bronze | | one that rides a galloping wild-maned horse in a bronze |
| bronze group which survives in several versions and which is | | bronze group which survives in several versions and which is |
| documented in the inventory of Charles I's collection as a | | documented in the inventory of Charles I's collection as a |
| work by `ffiancisco ffancllo', `ffiancisco the one eyed Italian' | | work by `ffiancisco ffancllo', `ffiancisco the one eyed Italian' |
| (A. Radcliffe and P. Thornton, `John Evelyn's Cabinet', | | (A. Radcliffe and P. Thornton, `John Evelyn's Cabinet', |
| Co»"o¢.ffc#7 (Apr. 1978), 262 n. ). Just as the Cupid rode both | | Co»"o¢.ffc#7 (Apr. 1978), 262 n. ). Just as the Cupid rode both |
| a dolphin and a horse, so the horse was ridden by St. George | | a dolphin and a horse, so the horse was ridden by St. George |
| as wen as by Cupid (for this group see I. Pope-Henncssy, | | as wen as by Cupid (for this group see I. Pope-Henncssy, |
| `Some Bronze Statuettes by Francesco Fanelli', EJJ¢yr o„ | | `Some Bronze Statuettes by Francesco Fanelli', EJJ¢yr o„ |
| Jf#/¢.¢„ Sc"/P£„rc (London,1968),166-71 ). | | Jf#/¢.¢„ Sc"/P£„rc (London,1968),166-71 ). |
| Fanelli ieceivcd payment for work for King Charles I on 8 | | Fanelli ieceivcd payment for work for King Charles I on 8 |
| May 1635 and on 20 November received an additional | | May 1635 and on 20 November received an additional |
| payment from the Crown. In 1640 he signed the bust of the | | payment from the Crown. In 1640 he signed the bust of the |
| Prince of wales (today at Wclbeck Abbey) as `Sculptor to the | | Prince of wales (today at Wclbeck Abbey) as `Sculptor to the |
| RIng'. Vertuc recorded in the eighteenth century that he died | | RIng'. Vertuc recorded in the eighteenth century that he died |
| in England but it has been conjectured that hc went into | | in England but it has been conjectured that hc went into |
| exile with the court in the carly 1640s and it is significant that | | exile with the court in the carly 1640s and it is significant that |
| one edition of his V¢".c ¢rc¢¢.£G##7iG appeared in Paris in | | one edition of his V¢".c ¢rc¢¢.£G##7iG appeared in Paris in |
| 1661. Hc may have returned to England after this (or of | | 1661. Hc may have returned to England after this (or of |
| course before, for there is no reason to suppose that hc | | course before, for there is no reason to suppose that hc |
| directly supervised this or any edition). On the title-page of | | directly supervised this or any edition). On the title-page of |
| the book Fanclli is described as sculptor to the king of | | the book Fanclli is described as sculptor to the king of |
| Enaland-presumably Charles 11, unless the pubhshcr was | | Enaland-presumably Charles 11, unless the pubhshcr was |
| employing an earlier text or indeed republishing the book. | | employing an earlier text or indeed republishing the book. |
| Here, as in the signature on the bust cited above, Fanelli | | Here, as in the signature on the bust cited above, Fanelli |
| insists on his Florentine origivs. | | insists on his Florentine origivs. |
| Fanelli is in fact recorded in Genoa in January 1608 as the | | Fanelli is in fact recorded in Genoa in January 1608 as the |
| son of a Florentine sculptor, Virgilio Fanelli, casting bronze | | son of a Florentine sculptor, Virgilio Fanelli, casting bronze |
| putti for an altar. Between July and October of the following | | putti for an altar. Between July and October of the following |
| year he was making a crucifix for G.-D. Spinola to the | | year he was making a crucifix for G.-D. Spinola to the |
| approval of the palntcr Giovanni-Battista PagS, and a smaller | | approval of the palntcr Giovanni-Battista PagS, and a smaller |
| bronze crucifix, with a `zoccolo in forma di Monte' which | | bronze crucifix, with a `zoccolo in forma di Monte' which |
| was fitted with openings to serve as a cabinet, is mentioned | | was fitted with openings to serve as a cabinet, is mentioned |
| as made by him for the same Genocsc patron in the following | | as made by him for the same Genocsc patron in the following |
| year. He is recorded on 4 September 1620 as receiving the | | year. He is recorded on 4 September 1620 as receiving the |
| commission to cast (`Manifatturarc') all of the bronzes for | | commission to cast (`Manifatturarc') all of the bronzes for |
| the Chapel of Our Lady in the Chiesa dclla Vigna, Genoa, | | the Chapel of Our Lady in the Chiesa dclla Vigna, Genoa, |
| under the supervision of Paggi and the sculptor Battista | | under the supervision of Paggi and the sculptor Battista |
| Orsolino. On 26 May 1627 he was commissioned to cast the | | Orsolino. On 26 May 1627 he was commissioned to cast the |
| bronze capitals of the sane chapel. (G. Varni, R¢.cor¢¢. dG. | | bronze capitals of the sane chapel. (G. Varni, R¢.cor¢¢. dG. |
| ql.:uni fepditori in bronac (GenoaL, L879), 52-3, and I. | | ql.:uni fepditori in bronac (GenoaL, L879), 52-3, and I. |
| A+zRri,,N`o,t`ifje,deiproif?fsorideldisegnoinLeguriadalleorigini | | A+zRri,,N`o,t`ifje,deiproif?fsorideldisegnoinLeguriadalleorigini |
| a/ fGco/a Xvr, 6 vols. (Genoa, 1870-80), vi. 196-9, and 394- | | a/ fGco/a Xvr, 6 vols. (Genoa, 1870-80), vi. 196-9, and 394- |
| 6). Although it is generally assumed that his small bronzes | | 6). Although it is generally assumed that his small bronzes |
| made for English collectors (notably King Charles I and the | | made for English collectors (notably King Charles I and the |
| duke of Newcastle) were first made in England, Fancm may | | duke of Newcastle) were first made in England, Fancm may |
| have brought the moulds from Italy and the fact that a number | | have brought the moulds from Italy and the fact that a number |
| of his small bronzes, including this one, have an Italian | | of his small bronzes, including this one, have an Italian |
| provcnancc also suggests this. (In this connection see also the | | provcnancc also suggests this. (In this connection see also the |
| entry for No. 492.) | | entry for No. 492.) |
| The fact that the Ashmolcan's Cg¢P¢.d o# ¢ ch/4¢¢.# served | | The fact that the Ashmolcan's Cg¢P¢.d o# ¢ ch/4¢¢.# served |
| as a table fountain renrinds us of Fanclli's designs for grottoes | | as a table fountain renrinds us of Fanclli's designs for grottoes |
| and garden watervorks pubhished in V¢„.c ¢7ic4G.£e#eerG. This | | and garden watervorks pubhished in V¢„.c ¢7ic4G.£e#eerG. This |
| usually has a title-page dated Paris 1661 (but the copy in the | | usually has a title-page dated Paris 1661 (but the copy in the |
| Ashmolean Museum is undated). No two copies of this `book' | | Ashmolean Museum is undated). No two copies of this `book' |
| seem to be compiled in the same order (I have inspected six). | | seem to be compiled in the same order (I have inspected six). |
| The plates were also issued in two series with separate titles: | | The plates were also issued in two series with separate titles: |
| F?ntaip.e_s e? .jets d'?an, dessin6s d'apr¢s |s;Nc] les [has beaus | | F?ntaip.e_s e? .jets d'?an, dessin6s d'apr¢s |s;Nc] les [has beaus |
| li.e.tt.x d:Italie |!ar Fr. Fanelli Flor;ntin-Sc;lpterir dtt rot | | li.e.tt.x d:Italie |!ar Fr. Fanelli Flor;ntin-Sc;lpterir dtt rot |
| ¢'4gleterre and De§sins de grottos par Fa!;elli (Bri;dsh | | ¢'4gleterre and De§sins de grottos par Fa!;elli (Bri;dsh |
| Museum,1937-9-15-442-I-255). The former of these titles | | Museum,1937-9-15-442-I-255). The former of these titles |
| is significant because it acknowledges the unoridnality of the | | is significant because it acknowledges the unoridnality of the |
| designs. The documents from Genoa suggest that in his larger | | designs. The documents from Genoa suggest that in his larger |
| work at least Fanelli worked under the direction of other | | work at least Fanelli worked under the direction of other |
| artists, as well as making clear that he was a founder. Sandrart | | artists, as well as making clear that he was a founder. Sandrart |
| whilstclaimingthathcattractedthcattcntionofKingCharles1 | | whilstclaimingthathcattractedthcattcntionofKingCharles1 |
| by a work in ivory also emphasizes his direct involvement with | | by a work in ivory also emphasizes his direct involvement with |
| metal casting, his bronzes requiring no after work with either | | metal casting, his bronzes requiring no after work with either |
| chisel or Elf i, schneiden oder f ellen (Teut§che Academic | | chisel or Elf i, schneiden oder f ellen (Teut§che Academic |
| (Nuremberg, 1675), i. 350). It is indeed the case that this | | (Nuremberg, 1675), i. 350). It is indeed the case that this |
| bronze and others by him have received little or no toohng. | | bronze and others by him have received little or no toohng. |
| The results arc often very rough but this may have been | | The results arc often very rough but this may have been |
| acccptablc to patrons appreciative of the unfinished in other | | acccptablc to patrons appreciative of the unfinished in other |
| art forms such as old master drawings. One wonders whether | | art forms such as old master drawings. One wonders whether |
| thercisaconnectionbetweenFanclhiandtheltalianworkshop | | thercisaconnectionbetweenFanclhiandtheltalianworkshop |
| which produced the series of bronzes of which the Triton | | which produced the series of bronzes of which the Triton |
| inkstand (No. 232) is an example, also remarkable for their | | inkstand (No. 232) is an example, also remarkable for their |
| lack of tooling. That workshop was also notable for | | lack of tooling. That workshop was also notable for |
| permutations of stock elements. Fanelli's dolphin is similar to | | permutations of stock elements. Fanelli's dolphin is similar to |
| those which this workshop employed. The subject of Cupid | | those which this workshop employed. The subject of Cupid |
| riding such a fish however was a favourite one in the miniature | | riding such a fish however was a favourite one in the miniature |
| arts of the Greeks and Romans-as exemplified, for example, | | arts of the Greeks and Romans-as exemplified, for example, |
| by some gold ear-pendants in the Ashmolcan Museum | | by some gold ear-pendants in the Ashmolcan Museum |
| (Oldficld Bequest no. 29)-as Fanem and his patrons surely | | (Oldficld Bequest no. 29)-as Fanem and his patrons surely |
| knew. | | knew. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Since this catalogue entry was written my attention has | | Since this catalogue entry was written my attention has |
| been drawn to the fuller biographical account and survey of | | been drawn to the fuller biographical account and survey of |
| the artist's work made by Patricia Wengraf for the catalogue | | the artist's work made by Patricia Wengraf for the catalogue |
| o£ Cpe chi:hi[iton Kunst in der Repttbli-k Gentta 1528-18-15 | | o£ Cpe chi:hi[iton Kunst in der Repttbli-k Gentta 1528-18-15 |
| at the Schim Kunsthalle, Frankfurt August-November, 1992. | | at the Schim Kunsthalle, Frankfurt August-November, 1992. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably by Francesco FANELLI (active 1609nd2) | | Probably by Francesco FANELLI (active 1609nd2) |
| n | | n | @@PROCESS |
| 492. Laoco6n with his two sons | | 492. Laoco6n with his two sons |
| 10.55 cms. (height); 10.45 cms. (length); 4.I cms. (width) | | 10.55 cms. (height); 10.45 cms. (length); 4.I cms. (width) |
| Bronze, with a warm brown natural patina and traces of black varnish | | Bronze, with a warm brown natural patina and traces of black varnish |
| in the hollows. Hollow, lost-wax, cast. There are two small holes | | in the hollows. Hollow, lost-wax, cast. There are two small holes |
| in the back of I.aoco6n himself, and one similar hole beside his left | | in the back of I.aoco6n himself, and one similar hole beside his left |
| foot. Integral rectangular plinth. Mounted on a block of fine | | foot. Integral rectangular plinth. Mounted on a block of fine |
| patterned and unusually pink porphyry. `8 /451 G' is palntcd in | | patterned and unusually pink porphyry. `8 /451 G' is palntcd in |
| white on the rear of the rock-work upon which the figures arc seated | | white on the rear of the rock-work upon which the figures arc seated |
| (the numerals are partially worn off). | | (the numerals are partially worn off). |
| I.cnt by C. D. E. Fortnum in March 1888 and given by him later in | | I.cnt by C. D. E. Fortnum in March 1888 and given by him later in |
| the same year. 8. 451 in his catalogucs. Bought at the Dc I,a Salle | | the same year. 8. 451 in his catalogucs. Bought at the Dc I,a Salle |
| sale in London for £21, according to the notebook catalogue. The | | sale in London for £21, according to the notebook catalogue. The |
| margin of the notebook catalogue is also annotated with a resolution | | margin of the notebook catalogue is also annotated with a resolution |
| to rcnumber the bronze as 8. 462. | | to rcnumber the bronze as 8. 462. |
| Fortnum in his large catalogue wrote of this that `the | | Fortnum in his large catalogue wrote of this that `the |
| modelling is very spirited, able, and artistic; it is cast directly | | modelling is very spirited, able, and artistic; it is cast directly |
| from the wax'. He was aware of another version in the | | from the wax'. He was aware of another version in the |
| collection of J. C. Robinson (exhibited at the Burlington Fine | | collection of J. C. Robinson (exhibited at the Burlington Fine |
| Arts Club in 1879, no. 125) and noted that it differed in the | | Arts Club in 1879, no. 125) and noted that it differed in the |
| details. C. F. Bell annotated the manuscript catalogue with | | details. C. F. Bell annotated the manuscript catalogue with |
| rcfcrcnccs to one in Wiuiam Ncwall's collection exhibited at | | rcfcrcnccs to one in Wiuiam Ncwall's collection exhibited at |
| the Winter Exhibition of the Royal Academy in 1904 (case I, | | the Winter Exhibition of the Royal Academy in 1904 (case I, |
| no. 10-this was sold at Christie's, I.ondon, 27-9 June 1922, | | no. 10-this was sold at Christie's, I.ondon, 27-9 June 1922, |
| lot 44) and to two in Florence-the versions now on display | | lot 44) and to two in Florence-the versions now on display |
| in the Bargello, numbered 531 (formerly 149, from the Uffizi, | | in the Bargello, numbered 531 (formerly 149, from the Uffizi, |
| and hence probably the Grand Ducal Collections) and one | | and hence probably the Grand Ducal Collections) and one |
| numbered 219c (from the Carrand Couection). One is also | | numbered 219c (from the Carrand Couection). One is also |
| in the Staathchc Museen, Berlin-Dahlem ( 1953, in reserve; | | in the Staathchc Museen, Berlin-Dahlem ( 1953, in reserve; |
| Bode, Italian Bronac Statuettes Of the Ranai§§ance (London, | | Bode, Italian Bronac Statuettes Of the Ranai§§ance (London, |
| 1907-12), pl. LXXXIV) and another is in the Fitzwilliam | | 1907-12), pl. LXXXIV) and another is in the Fitzwilliam |
| Museum, Cambridge (M24-1951). | | Museum, Cambridge (M24-1951). |
| All these works are very close in character and size and the | | All these works are very close in character and size and the |
| differences are best explained by there being moulds fi-om | | differences are best explained by there being moulds fi-om |
| which wax casts were made which had to be worked up before | | which wax casts were made which had to be worked up before |
| investiture for the bronze casting. Thus in the larger foms, | | investiture for the bronze casting. Thus in the larger foms, |
| the rock, the body of I.aco6n, and indeed his head, there is | | the rock, the body of I.aco6n, and indeed his head, there is |
| little variation, whereas the snakes are always varied and so is | | little variation, whereas the snakes are always varied and so is |
| the raised am of the boy to proper left of the group. | | the raised am of the boy to proper left of the group. |
| The group is loosely based on the famous antique marble | | The group is loosely based on the famous antique marble |
| group in the Vatican but the sculptor has imagived the action | | group in the Vatican but the sculptor has imagived the action |
| as it would develop, with one son having given up the struggle. | | as it would develop, with one son having given up the struggle. |
| Fortnum noted that a similar attitude to the subject was taken | | Fortnum noted that a similar attitude to the subject was taken |
| by the modeller of one of his Renaissance medals (no. 707 in | | by the modeller of one of his Renaissance medals (no. 707 in |
| his catalogue, 120.19 in the Museum's typescript catalogue; | | his catalogue, 120.19 in the Museum's typescript catalogue; |
| Mohinier 615 ). | | Mohinier 615 ). |
| The Leocod." groups must bc associated with others | | The Leocod." groups must bc associated with others |
| reprcscnting the Dc¢£b a/Acf¢eo„, Ve#"f ¢„d Ade„G.f, and | | reprcscnting the Dc¢£b a/Acf¢eo„, Ve#"f ¢„d Ade„G.f, and |
| 07P4e"f ¢#¢ CG#4cr#f ( all represented in the Victoria and | | 07P4e"f ¢#¢ CG#4cr#f ( all represented in the Victoria and |
| Albert Museum, but also, with variations, in other collections) | | Albert Museum, but also, with variations, in other collections) |
| which are of similar size and modelled in the same way, cvcn | | which are of similar size and modelled in the same way, cvcn |
| with the same thin vermiculate elements reflecting a technique | | with the same thin vermiculate elements reflecting a technique |
| of rolling the wax, and cast with the same thin walls and | | of rolling the wax, and cast with the same thin walls and |
| frcqucnt perforations and cracks, and little if any tooling. In | | frcqucnt perforations and cracks, and little if any tooling. In |
| turn these bronzes must be associated not only with larger | | turn these bronzes must be associated not only with larger |
| 62 | | 62 |
| groups of the same and similar subjects but with rclicfs, and | | groups of the same and similar subjects but with rclicfs, and |
| in particular a pair reprcscnting CbrG.¢ c¢»)i¢."g fife C#orJ and | | in particular a pair reprcscnting CbrG.¢ c¢»)i¢."g fife C#orJ and |
| th:a Holy Funily with the robberJs child (rcpreseITted in | | th:a Holy Funily with the robberJs child (rcpreseITted in |
| numerous public collections including the Victoria and Albert | | numerous public collections including the Victoria and Albert |
| Museum, the Metropolitan Museum, New York, the | | Museum, the Metropolitan Museum, New York, the |
| Minneapolis Institute of Art, and the Spenccr Art Gallery of | | Minneapolis Institute of Art, and the Spenccr Art Gallery of |
| the University of Kansas at I.awrencc). These reliefs in turn | | the University of Kansas at I.awrencc). These reliefs in turn |
| arc very close in technique and quite close in style to the little | | arc very close in technique and quite close in style to the little |
| square reliefs representing aninals and the larger reliefs | | square reliefs representing aninals and the larger reliefs |
| raprcsendmg Orphetts charming the animal kingdom a;nd cha | | raprcsendmg Orphetts charming the animal kingdom a;nd cha |
| reowp£¢f¢.a" a/Ad¢co ¢#d Epc (for which see A. Radcliffc and | | reowp£¢f¢.a" a/Ad¢co ¢#d Epc (for which see A. Radcliffc and |
| P. Thornton, `John Evelyn's Cabinct', Co„„o¢.JJc#7 (Apr. | | P. Thornton, `John Evelyn's Cabinct', Co„„o¢.JJc#7 (Apr. |
| 1978), 254ndl ). These in turn arc similar in technique to | | 1978), 254ndl ). These in turn arc similar in technique to |
| and have some compelling stylistic similarities with the little | | and have some compelling stylistic similarities with the little |
| bronzcs which correspond to those described by Vcrtue in | | bronzcs which correspond to those described by Vcrtue in |
| the eighteenth century as by Fanclli and belonSng to the earl | | the eighteenth century as by Fanclli and belonSng to the earl |
| of Oxford, having oridnally been made for the duke of | | of Oxford, having oridnally been made for the duke of |
| Newcastle (J. Pope-Hcnncssy. `Somc Bronze Statuettes by | | Newcastle (J. Pope-Hcnncssy. `Somc Bronze Statuettes by |
| F[ancesco Fanelli:' , Essays on Italian Sculptwre (Ijondon, | | F[ancesco Fanelli:' , Essays on Italian Sculptwre (Ijondon, |
| 1968),166-71). | | 1968),166-71). |
| Reviewing these highly convincing connecting chains | | Reviewing these highly convincing connecting chains |
| chiefly built up by Jcnnifer Montagu and Anthony Radcliffe | | chiefly built up by Jcnnifer Montagu and Anthony Radcliffe |
| it must be admitted that no direct connection can be made | | it must be admitted that no direct connection can be made |
| betwccn the style of the miniature L¢ocod." groups and any | | betwccn the style of the miniature L¢ocod." groups and any |
| of the statuettes listed by Vertue, or included in the inventory | | of the statuettes listed by Vertue, or included in the inventory |
| of King Charles I, as by Fanelli. If the L¢ocod.„ groups are by | | of King Charles I, as by Fanelli. If the L¢ocod.„ groups are by |
| Fanclli then it is intcrcsting that one version at least has an | | Fanclli then it is intcrcsting that one version at least has an |
| old Italian provenance, for it suggests that hc made some of | | old Italian provenance, for it suggests that hc made some of |
| them before settling in England. Before the connection with | | them before settling in England. Before the connection with |
| Fanelli was proposed, the IA¢ocod." groups were generally | | Fanelli was proposed, the IA¢ocod." groups were generally |
| considered to be Italian of the sixteenth century and this was | | considered to be Italian of the sixteenth century and this was |
| also Fortnum's opinion. One version in the Bargcllo has | | also Fortnum's opinion. One version in the Bargcllo has |
| recently been published as Geman (A7¢¢. ¢e/ A4ledS.oovo G ¢c/ | | recently been published as Geman (A7¢¢. ¢e/ A4ledS.oovo G ¢c/ |
| Rinaccimento-Oma{qqio ai Carmnd (Florence. L989), 26\ , | | Rinaccimento-Oma{qqio ai Carmnd (Florence. L989), 26\ , |
| no. 46). | | no. 46). |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Probably William Pitts ( 1790-1840) | | Probably William Pitts ( 1790-1840) |
| After John FIAXMAN ( 1755-1826) | | After John FIAXMAN ( 1755-1826) |
| n | | n | @@PROCESS |
| 493. Shield of Achilles | | 493. Shield of Achilles |
| 95.5 cms. (diameter) | | 95.5 cms. (diameter) |
| Bronze with a dark chestnut brown to black patina. Sand-cast in | | Bronze with a dark chestnut brown to black patina. Sand-cast in |
| two chief pieces: the central circle, with the continuous line of stars | | two chief pieces: the central circle, with the continuous line of stars |
| on the circumference, as one piece, and the remainder as the other | | on the circumference, as one piece, and the remainder as the other |
| piece. On the reverse the irregular rim of the outer piece may be | | piece. On the reverse the irregular rim of the outer piece may be |
| seen, folded over at the soldered junction with the central circle. | | seen, folded over at the soldered junction with the central circle. |
| The six projecting forelegs and two projecting heads of the horses | | The six projecting forelegs and two projecting heads of the horses |
| of Apollo have all been cast separately. Some of the attachments are | | of Apollo have all been cast separately. Some of the attachments are |
| visible in the hollowed reverse. In the case of the foremost legs | | visible in the hollowed reverse. In the case of the foremost legs |
| nearest the centre to either side it is not the whole but merely most | | nearest the centre to either side it is not the whole but merely most |
| of the leg that has been cast separatelyut hair-line join above the | | of the leg that has been cast separatelyut hair-line join above the |
| knees can be seen on close inspection. The reverse of the outer piece | | knees can be seen on close inspection. The reverse of the outer piece |
| reveals at least three vestigial seams corresponding to the manner in | | reveals at least three vestigial seams corresponding to the manner in |
| which the mould was assembled. Two suspension rings are soldered | | which the mould was assembled. Two suspension rings are soldered |
| to the reverse of the central circle and two to one side (not to the | | to the reverse of the central circle and two to one side (not to the |
| top) of the outer rim. | | top) of the outer rim. |
| Given by `Messrs. Rundell and Bridge' on 14 October 1842 | | Given by `Messrs. Rundell and Bridge' on 14 October 1842 |
| (Minutes of Hebdomadal Board) payments are recorded for `Iron | | (Minutes of Hebdomadal Board) payments are recorded for `Iron |
| work for Shic[d' on 13 April 1846 probably in connection with | | work for Shic[d' on 13 April 1846 probably in connection with |
| hanSng it in the University Galleries. It was placed in the Principal | | hanSng it in the University Galleries. It was placed in the Principal |
| Sculpture Gallery (now the Randolph Gallery) near Westmacott's | | Sculpture Gallery (now the Randolph Gallery) near Westmacott's |
| T77.¢/ a/Soc7i¢fgf (No. 589 ) and the small copy of the Dy¢."gg/¢¢;¢£07 | | T77.¢/ a/Soc7i¢fgf (No. 589 ) and the small copy of the Dy¢."gg/¢¢;¢£07 |
| (ENo. 5L9). (Handbook Gttide f or the University Galleries (Oxford, | | (ENo. 5L9). (Handbook Gttide f or the University Galleries (Oxford, |
| 1865),14). (A cast of the shield now in the Fitzwilliam Museum | | 1865),14). (A cast of the shield now in the Fitzwilliam Museum |
| was given to the University of Cambridge by Rundell and Bridge in | | was given to the University of Cambridge by Rundell and Bridge in |
| 1842). The shield has long hung in the centre of the north wall of | | 1842). The shield has long hung in the centre of the north wall of |
| the Print Room above the cabinets: it is likely to have been placed | | the Print Room above the cabinets: it is likely to have been placed |
| there at the same date as the groups by Alfred Stevens (Nos. 571- | | there at the same date as the groups by Alfred Stevens (Nos. 571- |
| 2) which flank it. | | 2) which flank it. |
| The reconstruction of the storiated armour described in | | The reconstruction of the storiated armour described in |
| ancient epic poetry had much' exercised antiquarians and | | ancient epic poetry had much' exercised antiquarians and |
| artists in the eighteenth century, but the fabrication of such | | artists in the eighteenth century, but the fabrication of such |
| in metal was typical of the last century. It is not known when | | in metal was typical of the last century. It is not known when |
| exactly Flaxman was commissioned by the royal goldsmiths | | exactly Flaxman was commissioned by the royal goldsmiths |
| and jewcllers Rundell, Bridge and Rundell of 32 Ludgate | | and jewcllers Rundell, Bridge and Rundell of 32 Ludgate |
| Hill, Ijondon, to design a modern version of the most famous | | Hill, Ijondon, to design a modern version of the most famous |
| of such pieces of armour, the shield fashioned by Hephaestus | | of such pieces of armour, the shield fashioned by Hephaestus |
| for Achilles and described at length near the cnd of the | | for Achilles and described at length near the cnd of the |
| eighteenth book of the I/¢.¢¢. Nor is it clear whether the idea | | eighteenth book of the I/¢.¢¢. Nor is it clear whether the idea |
| came from the goldsmiths or from Flaxman himself: Flaxman | | came from the goldsmiths or from Flaxman himself: Flaxman |
| was certainly an obvious choice since he had made his | | was certainly an obvious choice since he had made his |
| reputation with his illustrations for Homer and connoisseurs | | reputation with his illustrations for Homer and connoisseurs |
| may well have realized that he excelled in relief on a relatively | | may well have realized that he excelled in relief on a relatively |
| small scale. | | small scale. |
| Maria Denman, Flaxman's niece, protested against Alan | | Maria Denman, Flaxman's niece, protested against Alan |
| Cunningham's suggestion that Flaxman's source was Pope's | | Cunningham's suggestion that Flaxman's source was Pope's |
| translation. We need not suppose that Flaxman was a classical | | translation. We need not suppose that Flaxman was a classical |
| scholar, as she implied, but his study of the poetry was | | scholar, as she implied, but his study of the poetry was |
| certainly as reverential as his treatment of it was imaginative. | | certainly as reverential as his treatment of it was imaginative. |
| The a]:ronyrrLorus Memoirs Of the late Philip Rundell (Lendon> | | The a]:ronyrrLorus Memoirs Of the late Philip Rundell (Lendon> |
| 1827), 22-3, pictures the learned goldsmith listening for | | 1827), 22-3, pictures the learned goldsmith listening for |
| hours on end to the learned sculptor reading from the I/G.¢d | | hours on end to the learned sculptor reading from the I/G.¢d |
| which suggests a finiliarity between them that is improbable, | | which suggests a finiliarity between them that is improbable, |
| 64 | | 64 |
| but the commission certainly was conceived more as artistic | | but the commission certainly was conceived more as artistic |
| `sponsorship' rather than a mere commercial venture. The | | `sponsorship' rather than a mere commercial venture. The |
| sponsorship had a promotional aspect of course but this | | sponsorship had a promotional aspect of course but this |
| depended upon the work being relished by scholars and | | depended upon the work being relished by scholars and |
| connoisseurs. The chief source surely ty¢f Pope's translation. | | connoisseurs. The chief source surely ty¢f Pope's translation. |
| There shone the image of the master-mind: | | There shone the image of the master-mind: |
| There earth, there heaven, there ocean he designed; | | There earth, there heaven, there ocean he designed; |
| The unwearied sun, the moon completely round; | | The unwearied sun, the moon completely round; |
| The starry lights that heaven's high convex crown'd . . . | | The starry lights that heaven's high convex crown'd . . . |
| The centre of the shield rcprescnts the heavens and the border | | The centre of the shield rcprescnts the heavens and the border |
| the oceans. The circuit of reliefs between represents life on | | the oceans. The circuit of reliefs between represents life on |
| earth. Flaxman places the chariot of the sun in the centre of | | earth. Flaxman places the chariot of the sun in the centre of |
| his shield surrounded by the constellations, giving the sun an | | his shield surrounded by the constellations, giving the sun an |
| emphasis which is not found in Homer, but he must have felt | | emphasis which is not found in Homer, but he must have felt |
| that some climax and focus was essential and this was certainly | | that some climax and focus was essential and this was certainly |
| appropriate. The circuit of reliefs commences below the centre | | appropriate. The circuit of reliefs commences below the centre |
| at 6.00 and progresses anticlockwise. | | at 6.00 and progresses anticlockwise. |
| Here sacred pomp and genial feast delight, | | Here sacred pomp and genial feast delight, |
| And solemn dance, and hymeneal rite. | | And solemn dance, and hymeneal rite. |
| The feasting is seen in the background; the bridal procession | | The feasting is seen in the background; the bridal procession |
| in front. This graduates into a scene of citizens quarrelling | | in front. This graduates into a scene of citizens quarrelling |
| over homicide (a supine victim can just be perceived on the | | over homicide (a supine victim can just be perceived on the |
| ground) and over the payment of a debt, which is followed | | ground) and over the payment of a debt, which is followed |
| by a judicial appeal presided over by elders on stone seats. | | by a judicial appeal presided over by elders on stone seats. |
| Then there is an abrupt transition (abrupt in Homer as well) | | Then there is an abrupt transition (abrupt in Homer as well) |
| to a scene of warfare before a besieged city. Some of the | | to a scene of warfare before a besieged city. Some of the |
| besieged ambush their assailants, assisted by Minerva and | | besieged ambush their assailants, assisted by Minerva and |
| Mars. Flaxman chose not to emphasize the slaughter of sheep | | Mars. Flaxman chose not to emphasize the slaughter of sheep |
| and oxen which this entailed, but one carcass of each animal | | and oxen which this entailed, but one carcass of each animal |
| can be seen to the right. There is then another transition. | | can be seen to the right. There is then another transition. |
| Oxen driving ploughs are represented moving in two | | Oxen driving ploughs are represented moving in two |
| directions and the landlord waits to reward the sweating | | directions and the landlord waits to reward the sweating |
| labourers with a goblet when they ton round. Beside this is | | labourers with a goblet when they ton round. Beside this is |
| a field of grain which is cut with sickles by men, bound into | | a field of grain which is cut with sickles by men, bound into |
| sheaves by women, and carried off by children. Meanwhile an | | sheaves by women, and carried off by children. Meanwhile an |
| ox is slaughtered for the harvest feast. Next we see the vines | | ox is slaughtered for the harvest feast. Next we see the vines |
| gathered in and four brave herdsmen with nine cowardly | | gathered in and four brave herdsmen with nine cowardly |
| dogs confronting a predatory pair of lions. | | dogs confronting a predatory pair of lions. |
| The last scene represents a dance: | | The last scene represents a dance: |
| The maids in soft simars of linen dress'd; | | The maids in soft simars of linen dress'd; |
| The youths all graceful in the glossy vest: | | The youths all graceful in the glossy vest: |
| Of those the locks with flowery wreath inroll'd; | | Of those the locks with flowery wreath inroll'd; |
| Of these the sides adorn'd with swords of gold, | | Of these the sides adorn'd with swords of gold, |
| That glittering gay, from silver belts depend. | | That glittering gay, from silver belts depend. |
| Now all at once they rise, at once descend, | | Now all at once they rise, at once descend, |
| With well-taught feet: now shape in oblique ways, | | With well-taught feet: now shape in oblique ways, |
| Confusedly regular, the moving maze: | | Confusedly regular, the moving maze: |
| Now forth at once, too swift for sight, they spring, | | Now forth at once, too swift for sight, they spring, |
| And undistinguish'd blend the flying ring: | | And undistinguish'd blend the flying ring: |
| So whirls a wheel, in giddy circle toss'd, | | So whirls a wheel, in giddy circle toss'd, |
| And, rapid as it runs, the single spokes are lost. | | And, rapid as it runs, the single spokes are lost. |
| The gazing multitudes admire around: | | The gazing multitudes admire around: |
| Two active tumblers in the centre bound . . . | | Two active tumblers in the centre bound . . . |
| I- | | I- |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| The economy with which Flaxman represents this in a few | | The economy with which Flaxman represents this in a few |
| inches is worthy of special comment, as is his intelligence in | | inches is worthy of special comment, as is his intelligence in |
| combining it with the marriage procession so that that relief | | combining it with the marriage procession so that that relief |
| divides into thrcc rather than four pairs: Peace, War, and the | | divides into thrcc rather than four pairs: Peace, War, and the |
| sources of wealth and health (bread, wine, and meat). | | sources of wealth and health (bread, wine, and meat). |
| Flaxman's close attention to the text is remarkable and | | Flaxman's close attention to the text is remarkable and |
| apart from the emphasis given to Apollo the only important | | apart from the emphasis given to Apollo the only important |
| difference lies in his avoidance of pictorial effects, the city | | difference lies in his avoidance of pictorial effects, the city |
| background for the marriage, and still more the landscape with | | background for the marriage, and still more the landscape with |
| forests, sheep folds, and pasture upon which Homer dwells | | forests, sheep folds, and pasture upon which Homer dwells |
| after his description of the lion attack. Flaxman knew of | | after his description of the lion attack. Flaxman knew of |
| course that ancient Greeks would not have included such | | course that ancient Greeks would not have included such |
| effects in a sculpture. Indccd even the very low-relief | | effects in a sculpture. Indccd even the very low-relief |
| backgrounds and overlapping planes that hc does allow were | | backgrounds and overlapping planes that hc does allow were |
| such as one would not find in ancient Greek work. (In this | | such as one would not find in ancient Greek work. (In this |
| respect Ludwig van Schwanthalcr's S¢¢.G/¢ a/He7i¢4/Gf in the | | respect Ludwig van Schwanthalcr's S¢¢.G/¢ a/He7i¢4/Gf in the |
| Liebieghaus, Frankfurt, may bc taken as a purist correction | | Liebieghaus, Frankfurt, may bc taken as a purist correction |
| of Flaxman. ) The most surprising respect in which Flaxman's | | of Flaxman. ) The most surprising respect in which Flaxman's |
| shield departs from Homer's is that it was made in uniform | | shield departs from Homer's is that it was made in uniform |
| silver gilt or uniform dark brown bronze whereas the passage | | silver gilt or uniform dark brown bronze whereas the passage |
| in Homer, like most poetic accounts of ancient metalwork, | | in Homer, like most poetic accounts of ancient metalwork, |
| emphasizes variety of colour from alloys, inlays, burnishing, | | emphasizes variety of colour from alloys, inlays, burnishing, |
| or patina. Thus the waves on the edge should be bright silver, | | or patina. Thus the waves on the edge should be bright silver, |
| the harvests should bc bright gold, and, in the dance, the men | | the harvests should bc bright gold, and, in the dance, the men |
| have gold swords hung on silver belts. | | have gold swords hung on silver belts. |
| It has been suggested that the shield origivated in a plan | | It has been suggested that the shield origivated in a plan |
| for plate to be prcscnted to the duke of wellington and this | | for plate to be prcscnted to the duke of wellington and this |
| is not impossible when it is recalled that the `Ijadics of Great | | is not impossible when it is recalled that the `Ijadics of Great |
| Britain' erected a colossal bronze statue of Achilles as a tribute | | Britain' erected a colossal bronze statue of Achilles as a tribute |
| to the duke. Certainly the similarly large and elaborate | | to the duke. Certainly the similarly large and elaborate |
| storiated shield commissioned in 1814 by the Merchants and | | storiated shield commissioned in 1814 by the Merchants and |
| Bankers of the City of I.ondon for presentation to the duke | | Bankers of the City of I.ondon for presentation to the duke |
| of wellington (today in Apsley House) and made for Green, | | of wellington (today in Apsley House) and made for Green, |
| Ward and Green, the chief rivals of Rundell, Bridge and | | Ward and Green, the chief rivals of Rundell, Bridge and |
| Rundell, by Benjamin Smith after designs by Thomas | | Rundell, by Benjamin Smith after designs by Thomas |
| Stothard, a friend of Flaxman, must have been a significant | | Stothard, a friend of Flaxman, must have been a significant |
| stimulus since it was being made in the same period-it seems | | stimulus since it was being made in the same period-it seems |
| in fact to have been completed a little later. And it is probable | | in fact to have been completed a little later. And it is probable |
| that Flaxman had hoped to secure this commission. | | that Flaxman had hoped to secure this commission. |
| Nevertheless the first rcfercnccs to the shield are still earlier | | Nevertheless the first rcfercnccs to the shield are still earlier |
| in date. A letter from the firm dated 29 October 1810 (on | | in date. A letter from the firm dated 29 October 1810 (on |
| fo. 98 of the volume of autograph letters to William Hayley | | fo. 98 of the volume of autograph letters to William Hayley |
| in the Fitzwilliam Museum) mentions a payment of 15 | | in the Fitzwilliam Museum) mentions a payment of 15 |
| guineas for three drawings and one of loo guineas `for the | | guineas for three drawings and one of loo guineas `for the |
| beautiful design of the shield of Achilles', adding `we do not | | beautiful design of the shield of Achilles', adding `we do not |
| attempt to put a price upon that excellent performance'. The | | attempt to put a price upon that excellent performance'. The |
| letter continues, `we trust that Mr Theed under the occasional | | letter continues, `we trust that Mr Theed under the occasional |
| inspection, which you have been kind enough to promise, will | | inspection, which you have been kind enough to promise, will |
| be able to execute to your satisfaction this exquisite design'. | | be able to execute to your satisfaction this exquisite design'. |
| The plan for Theed to execute the model must have been | | The plan for Theed to execute the model must have been |
| abandoned and the whole idea revised for in a letter of 8 | | abandoned and the whole idea revised for in a letter of 8 |
| September 1814 Flaxman's wife wrote that he had | | September 1814 Flaxman's wife wrote that he had |
| `recommcnc'd the model of the famous shield upon a larger | | `recommcnc'd the model of the famous shield upon a larger |
| plan' (ibid. fo. 47). | | plan' (ibid. fo. 47). |
| Flaxman entered £200 in his ledger `on account of shield | | Flaxman entered £200 in his ledger `on account of shield |
| of Achilles' on 4 January 1817-it is clear, however, from | | of Achilles' on 4 January 1817-it is clear, however, from |
| other sources that work on the revised commission | | other sources that work on the revised commission |
| Commenced considerably earlier. He recorded below this | | Commenced considerably earlier. He recorded below this |
| entry that he had been paid £525 (i.c. 500 guineas) on 20 | | entry that he had been paid £525 (i.c. 500 guineas) on 20 |
| January 1818 for the `model' (MS ledger in the Montgomery | | January 1818 for the `model' (MS ledger in the Montgomery |
| Library, Columbia University, New York, p. 93, using page | | Library, Columbia University, New York, p. 93, using page |
| numbers at tops of pages, nearest the binding). There are no | | numbers at tops of pages, nearest the binding). There are no |
| entries in Flaxman's ledger for Rundell, Bridge and Rundell | | entries in Flaxman's ledger for Rundell, Bridge and Rundell |
| with an earlier date, but subsequent entries continue to the | | with an earlier date, but subsequent entries continue to the |
| cnd of his life. These other entries are specifically for `sketches', | | cnd of his life. These other entries are specifically for `sketches', |
| `drawings', or `designs') (e.g. `skctch for an ink stand', `two | | `drawings', or `designs') (e.g. `skctch for an ink stand', `two |
| drawings of a candelabrum for the Queen') and all recorded | | drawings of a candelabrum for the Queen') and all recorded |
| payments are for no more than 8 guineas with two exceptions: | | payments are for no more than 8 guineas with two exceptions: |
| a payment of 20 guineas made on 10 January 1818 for `2 bas | | a payment of 20 guineas made on 10 January 1818 for `2 bas |
| reliefs for Mr. Kemble's cupndelivered to Mr. Storr' and | | reliefs for Mr. Kemble's cupndelivered to Mr. Storr' and |
| one for `6 designs for the Ambassadors Box' for which hc | | one for `6 designs for the Ambassadors Box' for which hc |
| received 25 guincas on 25 December 1825. The number of | | received 25 guincas on 25 December 1825. The number of |
| drawings supplied is an adequate explanation for the high | | drawings supplied is an adequate explanation for the high |
| payment in the second case, but in the first one might suspect | | payment in the second case, but in the first one might suspect |
| that a model was involved. J. T. Smith, who was well | | that a model was involved. J. T. Smith, who was well |
| acquainted with the circumstances of the Kemble | | acquainted with the circumstances of the Kemble |
| prcsenta.don, noccd (Nollchens and His Times (-Ijondon, | | prcsenta.don, noccd (Nollchens and His Times (-Ijondon, |
| 1828), ii. 448) that Flaxman did not take payment for his | | 1828), ii. 448) that Flaxman did not take payment for his |
| drawings in this case but also noted that the models were | | drawings in this case but also noted that the models were |
| made by his pupil E. H. Baily (who was a major source for | | made by his pupil E. H. Baily (who was a major source for |
| his information on Flaxman), so Flaxman was probably | | his information on Flaxman), so Flaxman was probably |
| accepting payment on Baily's behalf. It would seem then that | | accepting payment on Baily's behalf. It would seem then that |
| Flaxman did not become chief modeller to Rundell, Bridge | | Flaxman did not become chief modeller to Rundell, Bridge |
| and Rundell as has been claimed (D. Irwin, Jo¢» F/¢I¥ow¢" | | and Rundell as has been claimed (D. Irwin, Jo¢» F/¢I¥ow¢" |
| (London, 1979), 194) but may only have modelled the S4¢.c/d | | (London, 1979), 194) but may only have modelled the S4¢.c/d |
| a/Ac¢¢.//cf for the firm. Certainly the payments for the S4¢.c/d | | a/Ac¢¢.//cf for the firm. Certainly the payments for the S4¢.c/d |
| a/Ac4¢.//cf arc altogether exceptional. | | a/Ac4¢.//cf arc altogether exceptional. |
| It is reasonable to assume that the models for the shield | | It is reasonable to assume that the models for the shield |
| would have been made in clay or wax from which a plaster | | would have been made in clay or wax from which a plaster |
| cast would have been taken. J. T. Smith, presumably relying | | cast would have been taken. J. T. Smith, presumably relying |
| on Baily's account, wrote that Flaxman `first modelled the | | on Baily's account, wrote that Flaxman `first modelled the |
| general design, without attending minutely to the rcspcctive | | general design, without attending minutely to the rcspcctive |
| parts; it was then moulded in compartments, and cast in | | parts; it was then moulded in compartments, and cast in |
| plaster, and he afterwards finished it up by cutting away to | | plaster, and he afterwards finished it up by cutting away to |
| that inimitable height of excellence, which enabled his spirited | | that inimitable height of excellence, which enabled his spirited |
| employers to produce the splendid casts of it in silver Slt . . .' | | employers to produce the splendid casts of it in silver Slt . . .' |
| (op. cit. 446). It must have been of a special type of gesso | | (op. cit. 446). It must have been of a special type of gesso |
| for plaster of Paris cannot safely be tooled. This model was | | for plaster of Paris cannot safely be tooled. This model was |
| either in five parts or was divided into five parts-uter rim, | | either in five parts or was divided into five parts-uter rim, |
| inner circle, and three sections of frieze-from which moulds | | inner circle, and three sections of frieze-from which moulds |
| were made. From these moulds silver, bronze, and plaster | | were made. From these moulds silver, bronze, and plaster |
| casts could be made. The casts in silver and bronze would | | casts could be made. The casts in silver and bronze would |
| have required extensive tooling and it was doubtless for this | | have required extensive tooling and it was doubtless for this |
| reason that Flaxman also supplied finished drawings. | | reason that Flaxman also supplied finished drawings. |
| Four silver Slt casts were made of the shield. One had been | | Four silver Slt casts were made of the shield. One had been |
| cast by late September 1819 and was reported as so perfect | | cast by late September 1819 and was reported as so perfect |
| that little finishing was needed. As S. Bury and M. Snodin in | | that little finishing was needed. As S. Bury and M. Snodin in |
| `The Shield of Achilles', A77 ¢f A"c£;o#, So£¢Gky IP83-1984 | | `The Shield of Achilles', A77 ¢f A"c£;o#, So£¢Gky IP83-1984 |
| (I.ondon, 1984) 274-83, point out, this is likely to have been | | (I.ondon, 1984) 274-83, point out, this is likely to have been |
| the cast with the date letter for 1821-2 made for King Gcorgc | | the cast with the date letter for 1821-2 made for King Gcorgc |
| IV (which remains in the Royal Collection). It was on display | | IV (which remains in the Royal Collection). It was on display |
| at the Coronation Banquet in July 1821. Another with the | | at the Coronation Banquet in July 1821. Another with the |
| same date letter was made for the duke of York (today in the | | same date letter was made for the duke of York (today in the |
| Huntington Art Museum and Library, California). Two more | | Huntington Art Museum and Library, California). Two more |
| were made with the date letter for 18234, one for the 2nd | | were made with the date letter for 18234, one for the 2nd |
| earl of I.onsdale (today at Anglesey Abbey, National Trust) | | earl of I.onsdale (today at Anglesey Abbey, National Trust) |
| 65 | | 65 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| and another for the duke of Northumberland (sold at | | and another for the duke of Northumberland (sold at |
| Sotheby.s, I.ondon, 3 May 1984, lot 124, exhibited Christic's, | | Sotheby.s, I.ondon, 3 May 1984, lot 124, exhibited Christic's, |
| I.ondon, January 1990, as part of the Al-Tajir Collection). In | | I.ondon, January 1990, as part of the Al-Tajir Collection). In |
| addition a linitcd edition of plaster casts, probably only three, | | addition a linitcd edition of plaster casts, probably only three, |
| were made-ne of these remains with the Royal Academy, | | were made-ne of these remains with the Royal Academy, |
| another belonged to John Gawlcr Bridge, and a third | | another belonged to John Gawlcr Bridge, and a third |
| belonged to Sir Thomas Lawrence. (A. Cunningham, £¢.t7cJ | | belonged to Sir Thomas Lawrence. (A. Cunningham, £¢.t7cJ |
| Of the British Painters, Scttlptors and Architects, .iri (`hondon. | | Of the British Painters, Scttlptors and Architects, .iri (`hondon. |
| 1833), 3524, says that three only were made and that these | | 1833), 3524, says that three only were made and that these |
| belonged to the Academy, to the artist himself, and to | | belonged to the Academy, to the artist himself, and to |
| I.awrence. ) The value attached to these is clearly demonstrated | | I.awrence. ) The value attached to these is clearly demonstrated |
| by the fact that I.awrence's cast was bought by Rundell, | | by the fact that I.awrence's cast was bought by Rundell, |
| doubtless worried about the opportunities for piracy it | | doubtless worried about the opportunities for piracy it |
| provided, at Lawrence's sale, Christie's, 6 July 1830, lot 68, | | provided, at Lawrence's sale, Christie's, 6 July 1830, lot 68, |
| for the surprisingly high price of fl3. 2j.. 6¢. This is likely to | | for the surprisingly high price of fl3. 2j.. 6¢. This is likely to |
| be the war-damaged cast presented to the British Museum by | | be the war-damaged cast presented to the British Museum by |
| the firm. (There must also have been aftercasts of which the | | the firm. (There must also have been aftercasts of which the |
| bronzed plaster which was exhibited at the Heim Gallery in | | bronzed plaster which was exhibited at the Heim Gallery in |
| the spring of 1976, no. 92, was surely an example.) | | the spring of 1976, no. 92, was surely an example.) |
| It is not known when the bronzes were cast but it is possible | | It is not known when the bronzes were cast but it is possible |
| that this did not take place until the 1830s. That the bronzes | | that this did not take place until the 1830s. That the bronzes |
| were finished by Pitts is clear from the evidence given by | | were finished by Pitts is clear from the evidence given by |
| George Foggo to a Select Committee on Arts and | | George Foggo to a Select Committee on Arts and |
| Architecture in 1835 (cited by Bury and Snodin, pp. 52-3). | | Architecture in 1835 (cited by Bury and Snodin, pp. 52-3). |
| The job involved the fitting of separately cast horse's legs and | | The job involved the fitting of separately cast horse's legs and |
| was highly complex. It is said that Pitts also worked on the | | was highly complex. It is said that Pitts also worked on the |
| chasing of the silver Slt versions of the S¢G.c/d a/Ac4¢.//cf and | | chasing of the silver Slt versions of the S¢G.c/d a/Ac4¢.//cf and |
| also on the Wellington shield: he was indeed better known | | also on the Wellington shield: he was indeed better known |
| for his work as a silver chaser (his father John Pitts, to whom | | for his work as a silver chaser (his father John Pitts, to whom |
| hc was apprenticed, was also a chaser) than for work on | | hc was apprenticed, was also a chaser) than for work on |
| bronze, but he was a versatile artist and was also responsible | | bronze, but he was a versatile artist and was also responsible |
| for work in stucco at Buckingham Palace. In any case it is | | for work in stucco at Buckingham Palace. In any case it is |
| remarkable how the tooling and construction of both the | | remarkable how the tooling and construction of both the |
| bronze versions is identical in character to the methods | | bronze versions is identical in character to the methods |
| employed for the silver Slt ones. | | employed for the silver Slt ones. |
| Pitts himself was said to have been working on a S4¢.c/d a/ | | Pitts himself was said to have been working on a S4¢.c/d a/ |
| Ac"e¢f when hc died and the influence of Flaxman's shield | | Ac"e¢f when hc died and the influence of Flaxman's shield |
| was felt particularly in the middle years of the nineteenth | | was felt particularly in the middle years of the nineteenth |
| century with such works as the chiselled steel shield of Italian | | century with such works as the chiselled steel shield of Italian |
| poetry of c.185l by Antoine Vechte (Victoria and Albcrt | | poetry of c.185l by Antoine Vechte (Victoria and Albcrt |
| Museum 1482-1852) or the electrotype Milton shield of | | Museum 1482-1852) or the electrotype Milton shield of |
| 1867 by Vechte's pupil I.eonard Morel-Ladeuil. | | 1867 by Vechte's pupil I.eonard Morel-Ladeuil. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably foundry of J. W. Singer and Sons, Frome, Somersct | | Probably foundry of J. W. Singer and Sons, Frome, Somersct |
| After Edward Onslow FORD ( 1852-1901) | | After Edward Onslow FORD ( 1852-1901) |
| n | | n | @@PROCESS |
| 494. Folly | | 494. Folly |
| 48.7 cms. (height including integral rock-work base); 10.6 cms. | | 48.7 cms. (height including integral rock-work base); 10.6 cms. |
| (diameter of rock-work base); 2.8 cms. (height of serpentine | | (diameter of rock-work base); 2.8 cms. (height of serpentine |
| base); 12.5 cms. (diameter of serpentine base) | | base); 12.5 cms. (diameter of serpentine base) |
| Bronze with a black vanish in places slightly green and bl.own. The | | Bronze with a black vanish in places slightly green and bl.own. The |
| varnish is chipped in small areas on the rock-work base. Hollow, | | varnish is chipped in small areas on the rock-work base. Hollow, |
| probably lost-wax, cast. Either the figure is cast separately from the | | probably lost-wax, cast. Either the figure is cast separately from the |
| rock-work base or remains filled with core: the hollow interior does | | rock-work base or remains filled with core: the hollow interior does |
| not extend to the figure's legs. There appears to be a rectangular | | not extend to the figure's legs. There appears to be a rectangular |
| patch of metal inserted behind the knee of the figure's right leg | | patch of metal inserted behind the knee of the figure's right leg |
| (this could bc part of an angular join). | | (this could bc part of an angular join). |
| Bequeathed by the Revd J. W. R. Brocklebank in 1927. No. 9, `a | | Bequeathed by the Revd J. W. R. Brocklebank in 1927. No. 9, `a |
| nude figure of a Nymph standing on rockwork 19" high by | | nude figure of a Nymph standing on rockwork 19" high by |
| A. Gilbcrt', in Andrew Shirley's receipt of January 1927. | | A. Gilbcrt', in Andrew Shirley's receipt of January 1927. |
| Ford had received his artistic education in Antwerp and | | Ford had received his artistic education in Antwerp and |
| Munich. Trained as a painter, he tuned his attention to | | Munich. Trained as a painter, he tuned his attention to |
| sculpture in the mid-1870s and his first great success was | | sculpture in the mid-1870s and his first great success was |
| Fo//y, modelled 1885nd and exhibited at the Royal Academy | | Fo//y, modelled 1885nd and exhibited at the Royal Academy |
| in 1886 as a large bronze statuette, 3 ft hich, which was the | | in 1886 as a large bronze statuette, 3 ft hich, which was the |
| Chantrey purchase (now Tate Ganery reserve). Another cast | | Chantrey purchase (now Tate Ganery reserve). Another cast |
| of this size is in the National Gauery of scotland, Edinburgh. | | of this size is in the National Gauery of scotland, Edinburgh. |
| A third was in the autumn of 1989 with the dealers Edric | | A third was in the autumn of 1989 with the dealers Edric |
| van Vredcnburgh and Dick Coats. This last cast is | | van Vredcnburgh and Dick Coats. This last cast is |
| distinguished by the most extraordinary trcatmcnt of the hair | | distinguished by the most extraordinary trcatmcnt of the hair |
| as a mass of fine wire. The smaller casts of the size of the | | as a mass of fine wire. The smaller casts of the size of the |
| Ashmolcan's are far more common: there is one in the I.ady | | Ashmolcan's are far more common: there is one in the I.ady |
| Lever Art Gallery, Port Sunlight, one was at Sothcby's, | | Lever Art Gallery, Port Sunlight, one was at Sothcby's, |
| Ijondon, 16 April 1986, lot 258, and another was recently | | Ijondon, 16 April 1986, lot 258, and another was recently |
| on the art market, dated 1893 but these smaller casts must | | on the art market, dated 1893 but these smaller casts must |
| have been made from a model available before 31 May 1890 | | have been made from a model available before 31 May 1890 |
| when the figure was said, in an article on small bronzcs in the | | when the figure was said, in an article on small bronzcs in the |
| S¢f#rdyRcp¢.era7,tohavcbecnavallablcinaneditionpublished | | S¢f#rdyRcp¢.era7,tohavcbecnavallablcinaneditionpublished |
| by Arthur Leslic Collie, of 398 Bond St, who seems to have | | by Arthur Leslic Collie, of 398 Bond St, who seems to have |
| been associated with the establishment of lost-wax bronze | | been associated with the establishment of lost-wax bronze |
| casting by the Singer firm under the direction of Herbert | | casting by the Singer firm under the direction of Herbert |
| Singer in 1888, or shortly before. | | Singer in 1888, or shortly before. |
| There is an admirable account of the statuette's character, | | There is an admirable account of the statuette's character, |
| antcccdcnts, and appeal in Susan Beattie's 777c NGw Sc#/P£"7G | | antcccdcnts, and appeal in Susan Beattie's 777c NGw Sc#/P£"7G |
| (I.ondon and New Haven, Conn.,1983),153-5, to which | | (I.ondon and New Haven, Conn.,1983),153-5, to which |
| one might only add the possible influence of the most | | one might only add the possible influence of the most |
| attractive ( but least finiliar today) of I,ord Leighton's bronze | | attractive ( but least finiliar today) of I,ord Leighton's bronze |
| figures, his bathing girl alarmed by a frog, NCG¢/cff 4/¢yxpf | | figures, his bathing girl alarmed by a frog, NCG¢/cff 4/¢yxpf |
| (a cast of which in the Victoria and Albcr[ Museum,1054- | | (a cast of which in the Victoria and Albcr[ Museum,1054- |
| 1905, is inscribed as published by Collie in November 1891, | | 1905, is inscribed as published by Collie in November 1891, |
| but which was certainly known before then). | | but which was certainly known before then). |
| 67 | | 67 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| 68 | | 68 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| After Dame Elisabeth FRINK (b. 1930) | | After Dame Elisabeth FRINK (b. 1930) |
| n | | n | @@PROCESS |
| 495. Mirage | | 495. Mirage |
| 37.6 cms. (height including integral plinth); 0.6 cms. (height of | | 37.6 cms. (height including integral plinth); 0.6 cms. (height of |
| plinth); 20.5 cms. (length of plinth); 6.1 cms. (width of plinth) | | plinth); 20.5 cms. (length of plinth); 6.1 cms. (width of plinth) |
| Aluminium. Solid, lost-wax, cast. Scratched `FRINK 4/7' on one side | | Aluminium. Solid, lost-wax, cast. Scratched `FRINK 4/7' on one side |
| of the upper surface of the integra.I plinth. `pRESENTED By / MR. R. | | of the upper surface of the integra.I plinth. `pRESENTED By / MR. R. |
| ALISDAIR (J¢.c) MCALPINE / 1969-136' painted in red on the | | ALISDAIR (J¢.c) MCALPINE / 1969-136' painted in red on the |
| underside of the plinth. A tape stamped `A 1839' is also stuck there. | | underside of the plinth. A tape stamped `A 1839' is also stuck there. |
| Given by Alistair MCAlpine of Fawley (now I.ord MCAlpine of west | | Given by Alistair MCAlpine of Fawley (now I.ord MCAlpine of west |
| Grccn) in 1969. ReSstered on 4 July 1969. | | Grccn) in 1969. ReSstered on 4 July 1969. |
| The Sft came soon after the purchase by the Dcpartmcnt of | | The Sft came soon after the purchase by the Dcpartmcnt of |
| the large drawing A4l¢7e ¢»¢ b#// from an exhibition of Frink's | | the large drawing A4l¢7e ¢»¢ b#// from an exhibition of Frink's |
| work at the Waddington Gancries, Cork Street. Ijord | | work at the Waddington Gancries, Cork Street. Ijord |
| MCAlpine's cncouragcmcnt of the Museum's interest in | | MCAlpine's cncouragcmcnt of the Museum's interest in |
| modem art was to lead to his donation of the MCAlpine | | modem art was to lead to his donation of the MCAlpine |
| Gallery, completed in 1973. | | Gallery, completed in 1973. |
| 69 | | 69 |
| BRITISH SCULI'TURES, BY ARTIST'S NAME | | BRITISH SCULI'TURES, BY ARTIST'S NAME |
| George GARRARD ARA ( 1760-1826) | | George GARRARD ARA ( 1760-1826) |
| n | | n | @@PROCESS |
| 496. Thoroughbred stallion rearing | | 496. Thoroughbred stallion rearing |
| 10.6 cms. (height); 14.9 cms. (from tail to off-fore hoof); 2.4 cms. | | 10.6 cms. (height); 14.9 cms. (from tail to off-fore hoof); 2.4 cms. |
| (height of plinth); 10.5 cms. (length of plinth); 7 cms. (width of | | (height of plinth); 10.5 cms. (length of plinth); 7 cms. (width of |
| plinth) | | plinth) |
| Bronze with a dark brown varnish, chestnut where slightly worn, | | Bronze with a dark brown varnish, chestnut where slightly worn, |
| chipped in some places. Yellow metal is revealed in small patches | | chipped in some places. Yellow metal is revealed in small patches |
| on salient parts of tail and mane. Presumably hollow cast. There is | | on salient parts of tail and mane. Presumably hollow cast. There is |
| much evidence of chiselling and punching. The tail is cast separately. | | much evidence of chiselling and punching. The tail is cast separately. |
| There is a seam across the horse's chest. Stamped `G. GARRARD. ARA' | | There is a seam across the horse's chest. Stamped `G. GARRARD. ARA' |
| on the belly of the horse. Bolted by the rear hoofs to a plinth of | | on the belly of the horse. Bolted by the rear hoofs to a plinth of |
| white marble. The underside of the plinth is inscribed by the former | | white marble. The underside of the plinth is inscribed by the former |
| ouncr in pencil: ` 13 years / 1945 / May 1 / 1958'; `GARRARD ARA | | ouncr in pencil: ` 13 years / 1945 / May 1 / 1958'; `GARRARD ARA |
| 1760-1826'. | | 1760-1826'. |
| Given by Mrs Gcrda Winser of Dean Buildings, Chipping Norton, | | Given by Mrs Gcrda Winser of Dean Buildings, Chipping Norton, |
| on 9 November 1988. Purchased by her on I May 1945 for £1 | | on 9 November 1988. Purchased by her on I May 1945 for £1 |
| from a dealer who had recently obtained it, together with a clock, | | from a dealer who had recently obtained it, together with a clock, |
| as a lot in a house sale of a descendant of the sculptor in Chipping | | as a lot in a house sale of a descendant of the sculptor in Chipping |
| Norton. Given by her to her late husband on their thirteenth | | Norton. Given by her to her late husband on their thirteenth |
| wedding anniversary. | | wedding anniversary. |
| 70 | | 70 |
| Garrard began his career as an animal painter, the pupn and | | Garrard began his career as an animal painter, the pupn and |
| a son-in-law of Sawrcy Gilpin. He exhibited paintings at the | | a son-in-law of Sawrcy Gilpin. He exhibited paintings at the |
| Academy from 1781 but in 1795 began to exhibit models of | | Academy from 1781 but in 1795 began to exhibit models of |
| aninals-mostly British agricultural specimens, but also some | | aninals-mostly British agricultural specimens, but also some |
| more exotic examples. He exhibited a bust of a young lady in | | more exotic examples. He exhibited a bust of a young lady in |
| 1801 and thereafter frequently exhibited portrait busts, some | | 1801 and thereafter frequently exhibited portrait busts, some |
| of them in marble. He showed some poetic subjects and | | of them in marble. He showed some poetic subjects and |
| strove, with little success, to obtain commissions for large | | strove, with little success, to obtain commissions for large |
| monumental works, but was always chiefly esteemed for his | | monumental works, but was always chiefly esteemed for his |
| small animal studies and portraits. It is not known when he | | small animal studies and portraits. It is not known when he |
| began to specialize in bronze versions of such works but both | | began to specialize in bronze versions of such works but both |
| statuettes and small busts in this medium were exhibited by | | statuettes and small busts in this medium were exhibited by |
| him at the Royal Academy from 1812 onwards. Whether he | | him at the Royal Academy from 1812 onwards. Whether he |
| was rcsponsiblc for the casting himself is not known, but hc | | was rcsponsiblc for the casting himself is not known, but hc |
| had long been interested in editing his work in plaster and | | had long been interested in editing his work in plaster and |
| had been very active in petitioning Parliament for a Bin to | | had been very active in petitioning Parliament for a Bin to |
| secure copyright in sculpture (the Act passed in 1798-38 | | secure copyright in sculpture (the Act passed in 1798-38 |
| Geo.Ill, c. 71). This bronze must date from after 1800 in | | Geo.Ill, c. 71). This bronze must date from after 1800 in |
| which year he was elcctcd an Associate of the Royal Academy. | | which year he was elcctcd an Associate of the Royal Academy. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Unknown foundry | | Unknown foundry |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 497. Perseus arning | | 497. Perseus arning |
| 36.4 cms. (height, including integral bronze base); 3 cms. (height | | 36.4 cms. (height, including integral bronze base); 3 cms. (height |
| of integral bronze base); 11.6 cms. (diameter of bronze base) | | of integral bronze base); 11.6 cms. (diameter of bronze base) |
| Bronze with a dark green to black patina. Hollow, sand-cast, in | | Bronze with a dark green to black patina. Hollow, sand-cast, in |
| pieces. The arms have been separately cast but the joins arc hard to | | pieces. The arms have been separately cast but the joins arc hard to |
| perceive. The figure is bolted to a separately cast circular bronze | | perceive. The figure is bolted to a separately cast circular bronze |
| base. There is a paper label on the underside of the base inscribed | | base. There is a paper label on the underside of the base inscribed |
| `Brocklebank Bequcst' together with a small circular lead seal | | `Brocklebank Bequcst' together with a small circular lead seal |
| stamped with a pair of ampersands. | | stamped with a pair of ampersands. |
| Bequeathed by the Revd J. W. R Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R Brocklebank in November 1926. |
| Acquired by him before 23 Septcmbcr 1910. No. 22 in Andrew | | Acquired by him before 23 Septcmbcr 1910. No. 22 in Andrew |
| Shirley's receipt of January 1927 as `Perseus . . .13" '. | | Shirley's receipt of January 1927 as `Perseus . . .13" '. |
| The Pgrfc#J was modelled in 1880 by Gilbert in Rome | | The Pgrfc#J was modelled in 1880 by Gilbert in Rome |
| apparently soon after hc had seen Cellini's cclcbratcd bronze | | apparently soon after hc had seen Cellini's cclcbratcd bronze |
| of the same hero in Florence and was cast in the spring of | | of the same hero in Florence and was cast in the spring of |
| 1881 also in Rome. `As at that time my whole thoughts were | | 1881 also in Rome. `As at that time my whole thoughts were |
| of my artistic equipment for the future, I conceived the idea | | of my artistic equipment for the future, I conceived the idea |
| that Perseus bcforc becoming a hero was a mere mortal, and | | that Perseus bcforc becoming a hero was a mere mortal, and |
| that hc had to look to his equipment', Gnbcrt recalled more | | that hc had to look to his equipment', Gnbcrt recalled more |
| than twenty years later. This account of his motivation, | | than twenty years later. This account of his motivation, |
| distorted by the preoccupation with his own genius which | | distorted by the preoccupation with his own genius which |
| obsessed him as his artistic powers began to falter, has perhaps | | obsessed him as his artistic powers began to falter, has perhaps |
| been treated with too much respect. Cellini's PGrJc#J may well | | been treated with too much respect. Cellini's PGrJc#J may well |
| have been his inspiration but the elegant tension of the figure | | have been his inspiration but the elegant tension of the figure |
| recalls certain late sixtccnth-century bronzes such as the female | | recalls certain late sixtccnth-century bronzes such as the female |
| Virtue floggivg Vice on the Borghese inkstand (scc No. 224) | | Virtue floggivg Vice on the Borghese inkstand (scc No. 224) |
| then attributed to Cellini. | | then attributed to Cellini. |
| Gilbert's bronze was exhibited at the Grosvenor Gallery in | | Gilbert's bronze was exhibited at the Grosvenor Gallery in |
| 1882 (no. 380) and again at the Paris Salon in the following | | 1882 (no. 380) and again at the Paris Salon in the following |
| year (no. 3700) and was enormously admired. It is not known | | year (no. 3700) and was enormously admired. It is not known |
| when the figure began to be reproduced fiill-size (as here, | | when the figure began to be reproduced fiill-size (as here, |
| No. 498), half-size (as in this case); and in miniature (as here, | | No. 498), half-size (as in this case); and in miniature (as here, |
| No. 499), with minor differences in the shape of the sword | | No. 499), with minor differences in the shape of the sword |
| blade and in the character of sword belt, sword hilt, helmet | | blade and in the character of sword belt, sword hilt, helmet |
| wings, and foot wings. A cast was in the J. P. Heseltine | | wings, and foot wings. A cast was in the J. P. Heseltine |
| Collection by 1887 when it was lent to Manchester City Art | | Collection by 1887 when it was lent to Manchester City Art |
| Gallery for exhibition, but the large editions are likely to | | Gallery for exhibition, but the large editions are likely to |
| belong to the last years of the ninctcenth century, or the first | | belong to the last years of the ninctcenth century, or the first |
| of the twentieth. | | of the twentieth. |
| This half-sized cast was the first which Brocklcbank | | This half-sized cast was the first which Brocklcbank |
| acquired, and also much the finest, of the three hc cvcntually | | acquired, and also much the finest, of the three hc cvcntually |
| owned. It is identical with the version in the Fitzwilliam | | owned. It is identical with the version in the Fitzwilliam |
| Museum which was exhibited at the Royal Academy | | Museum which was exhibited at the Royal Academy |
| cxhi+kjition .in \986-Alf red Gilbert: Sculptor and Goldsmith, | | cxhi+kjition .in \986-Alf red Gilbert: Sculptor and Goldsmith, |
| no. 11-s a lost-wax cast. However, that version and this, | | no. 11-s a lost-wax cast. However, that version and this, |
| hike the many others of this size that I have seen, have | | hike the many others of this size that I have seen, have |
| separately cast ams with joins (which can only be discerned | | separately cast ams with joins (which can only be discerned |
| on close examination) and these would bc surprising in a lost-wax | | on close examination) and these would bc surprising in a lost-wax |
| cast at that date. Casts of the other sizes arc generally | | cast at that date. Casts of the other sizes arc generally |
| more obviously sand-casts, although some of the fiill-size | | more obviously sand-casts, although some of the fiill-size |
| bronzes such as the origival cxhibitcd version, no doubt | | bronzes such as the origival cxhibitcd version, no doubt |
| Heseltine's, and the one from a private collection which was | | Heseltine's, and the one from a private collection which was |
| no. 10 in the Academy exhibition, arc cxccptions. The letters | | no. 10 in the Academy exhibition, arc cxccptions. The letters |
| from Gilbert to Brocklebank in the Dcpartmcnt's archive | | from Gilbert to Brocklebank in the Dcpartmcnt's archive |
| reveal how preoccupied the sculptor was by what he claimed | | reveal how preoccupied the sculptor was by what he claimed |
| were pirated versions of the bronze. | | were pirated versions of the bronze. |
| On 23 September 1910 in a letter mostly concerned with | | On 23 September 1910 in a letter mostly concerned with |
| his group of Sf Gco#gc co7¢d#cfgd ky V¢.cfory (No. 512) Gilbert | | his group of Sf Gco#gc co7¢d#cfgd ky V¢.cfory (No. 512) Gilbert |
| responded with suspicion to the news that his admirer had a | | responded with suspicion to the news that his admirer had a |
| cast of the PGrtc#f. | | cast of the PGrtc#f. |
| I must tell you that if your Pcrseus is signed in Roman capitals thus | | I must tell you that if your Pcrseus is signed in Roman capitals thus |
| ALFRED GILBERT the signature is none of my doing. I have seen a | | ALFRED GILBERT the signature is none of my doing. I have seen a |
| similar figure in the Kensington Museum and I have repudiated it | | similar figure in the Kensington Museum and I have repudiated it |
| publicly in 77/c TG.ovcj. I an taking steps to trace the author of this | | publicly in 77/c TG.ovcj. I an taking steps to trace the author of this |
| forgery of my name, and I am in a fair way to bring hin to book.- | | forgery of my name, and I am in a fair way to bring hin to book.- |
| I do not contend that the works arc not from my model, but they | | I do not contend that the works arc not from my model, but they |
| are inferior productions, and feloniously signed. | | are inferior productions, and feloniously signed. |
| He also exprcsscd furious indignation concerning the version | | He also exprcsscd furious indignation concerning the version |
| in the South Kensington Museum in another letter of I | | in the South Kensington Museum in another letter of I |
| December-`I never signed that figure in an ostensible way | | December-`I never signed that figure in an ostensible way |
| . . . I am repudiating this spurious, or rather pirated | | . . . I am repudiating this spurious, or rather pirated |
| production.' The version in the `Kensington Museum' is a | | production.' The version in the `Kensington Museum' is a |
| half-size cast (36.5 cms. high) which is on display in the | | half-size cast (36.5 cms. high) which is on display in the |
| English primary gallcrics (Room 118) of the Victoria and | | English primary gallcrics (Room 118) of the Victoria and |
| Albert Museum. Its accession number is 1050-1904 and the | | Albert Museum. Its accession number is 1050-1904 and the |
| Museum's records reveal that it was purchased for £68 7f.1d | | Museum's records reveal that it was purchased for £68 7f.1d |
| in 1904-asts of Tr¢gGdy ¢79d Coowcdy and of A# | | in 1904-asts of Tr¢gGdy ¢79d Coowcdy and of A# |
| O#G7?.»gr fo HyowG„ were acquired at the same time. `A. Gilbert' | | O#G7?.»gr fo HyowG„ were acquired at the same time. `A. Gilbert' |
| is chiselled in the metal across the upper surface of the base | | is chiselled in the metal across the upper surface of the base |
| beside the hero's right foot. Brocklebank evidently informed | | beside the hero's right foot. Brocklebank evidently informed |
| Gilbert that his version had no signature but did have a lead | | Gilbert that his version had no signature but did have a lead |
| seal. Pacified, Gilbert, in a letter of 27 September 1910, | | seal. Pacified, Gilbert, in a letter of 27 September 1910, |
| replied, `As to the lead seal, if it is in facsimile with either of | | replied, `As to the lead seal, if it is in facsimile with either of |
| these impressions you must be satisfied and so must 1', and | | these impressions you must be satisfied and so must 1', and |
| hc enclosed diagrams with one of which the ampersands on | | hc enclosed diagrams with one of which the ampersands on |
| the seal on this bronze do indeed correspond. | | the seal on this bronze do indeed correspond. |
| Some commentary on this correspondence is rcquircd. As | | Some commentary on this correspondence is rcquircd. As |
| is also clear from his references in the same letters to the | | is also clear from his references in the same letters to the |
| V¢.cfory (No. 502), Gilbert was understandably upset by the | | V¢.cfory (No. 502), Gilbert was understandably upset by the |
| profits being made, whilst he himself was in grave financial | | profits being made, whilst he himself was in grave financial |
| difficulties, by Bond Street dealers and the bronze foundries. | | difficulties, by Bond Street dealers and the bronze foundries. |
| However, if he consented, howcvcr reluctantly, to large | | However, if he consented, howcvcr reluctantly, to large |
| editions being made, as it seems likely that he did, it would | | editions being made, as it seems likely that he did, it would |
| not be surprising if some of the founders or dealers had his | | not be surprising if some of the founders or dealers had his |
| name added cspccially after his `exile' in Brussels. `Signaturcs' | | name added cspccially after his `exile' in Brussels. `Signaturcs' |
| cut in the metal after casting were not usually the | | cut in the metal after casting were not usually the |
| responsibility of the artist whose name was involved (which is | | responsibility of the artist whose name was involved (which is |
| why the term is misleading and avoided in this catalogue). It | | why the term is misleading and avoided in this catalogue). It |
| must all the same have been infuriating for artists to see their | | must all the same have been infuriating for artists to see their |
| names used in this manner without their consent. Gilbert | | names used in this manner without their consent. Gilbert |
| certainly was infuriated and the manner in which he jumped | | certainly was infuriated and the manner in which he jumped |
| to the wrong conclusion concerning Brocklcbank's bronze | | to the wrong conclusion concerning Brocklcbank's bronze |
| must suggest that he was not entirely reliable in his accusations. | | must suggest that he was not entirely reliable in his accusations. |
| The `inferior' production in the Victoria and Albert Museum | | The `inferior' production in the Victoria and Albert Museum |
| turns out not to be an aftcrcast as one might suppose or even | | turns out not to be an aftcrcast as one might suppose or even |
| 71 | | 71 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| a poorly finished cast but to be ridentical in quality to the | | a poorly finished cast but to be ridentical in quality to the |
| authorized version in Brocklebank's collection. Other casts of | | authorized version in Brocklebank's collection. Other casts of |
| Gilbert's work will be found to have the signature that so | | Gilbert's work will be found to have the signature that so |
| maddcncd hint-A" O#c7¢.79g fo HyowG» with the Fine Art | | maddcncd hint-A" O#c7¢.79g fo HyowG» with the Fine Art |
| Society, Bond Street, in February 1987 is an example-nd | | Society, Bond Street, in February 1987 is an example-nd |
| they are not works of inferior quality. | | they are not works of inferior quality. |
| 72 | | 72 |
| Unknown foundry, probably British | | Unknown foundry, probably British |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 498. Perseus arming | | 498. Perseus arming |
| 72.8 cms. (height including integral bronze base); 6.5 cms. | | 72.8 cms. (height including integral bronze base); 6.5 cms. |
| (height of bronze base) | | (height of bronze base) |
| Bronze with a chestnut patina, darker in the hollows. Hollow, sand-cast | | Bronze with a chestnut patina, darker in the hollows. Hollow, sand-cast |
| in pieces. Each leg and arm has been separately cast; the sword | | in pieces. Each leg and arm has been separately cast; the sword |
| strap also fashioned separately. | | strap also fashioned separately. |
| Bequeathed by the Revd J. W. R Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R Brocklebank in November 1926. |
| No. 12 in Andrew Shirley's receipt of January 1927 as `Pcrseus . . . | | No. 12 in Andrew Shirley's receipt of January 1927 as `Pcrseus . . . |
| 25" revolving on marble ptinth'. | | 25" revolving on marble ptinth'. |
| One of thrcc versions of this figure from Brocklebank's | | One of thrcc versions of this figure from Brocklebank's |
| collection. See No. 497. | | collection. See No. 497. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Unknown foundry, probably British | | Unknown foundry, probably British |
| After Sir Alfred GILBERT ( 1854~1934) | | After Sir Alfred GILBERT ( 1854~1934) |
| n | | n | @@PROCESS |
| 499. Perseus arming | | 499. Perseus arming |
| 14.5 cms. (height including integral socle); I.5 cms. (height of | | 14.5 cms. (height including integral socle); I.5 cms. (height of |
| integral soclc); 5 cms. (diamctcr of base of integral socle); | | integral soclc); 5 cms. (diamctcr of base of integral socle); |
| 5.8 cms. (height of wooden pedestal); 7.8 cms. (diameter of base | | 5.8 cms. (height of wooden pedestal); 7.8 cms. (diameter of base |
| of wooden pedestal) | | of wooden pedestal) |
| Bronze with a warm chestnut patina. Hollow, sand-cast in pieces. | | Bronze with a warm chestnut patina. Hollow, sand-cast in pieces. |
| Each arm is separately cast. The figure is fitted to a separately cast | | Each arm is separately cast. The figure is fitted to a separately cast |
| bronze socle and bolted to an ebonizcd wooden pedestal in the form | | bronze socle and bolted to an ebonizcd wooden pedestal in the form |
| of a truncated column on an octagonal plinth. | | of a truncated column on an octagonal plinth. |
| Bequeathed by the Revd J. W. R. Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R. Brocklebank in November 1926. |
| No.18 in Andrew Shirley's receipt of January 1927 as `Perseus . . . | | No.18 in Andrew Shirley's receipt of January 1927 as `Perseus . . . |
| 6" on ebonised plinth'. | | 6" on ebonised plinth'. |
| One of three versions of this figure from Brocklebank's | | One of three versions of this figure from Brocklebank's |
| collection. See No. 497. | | collection. See No. 497. |
| 74 | | 74 |
| Perhaps foundry of the Compagnic des Bronzes, Brussels | | Perhaps foundry of the Compagnic des Bronzes, Brussels |
| After Sir Alfred GILBERT (1854-1934) | | After Sir Alfred GILBERT (1854-1934) |
| n | | n | @@PROCESS |
| 500. Icarus | | 500. Icarus |
| 51 cms. (height including wooden base in which integral bronze | | 51 cms. (height including wooden base in which integral bronze |
| base is sunk); 2.8 cms. (height of wooden base); 17.2 cms. | | base is sunk); 2.8 cms. (height of wooden base); 17.2 cms. |
| (dianetcr of wooden base ) | | (dianetcr of wooden base ) |
| Bronze with a deep chestnut patina slightly green in parts. Hollow | | Bronze with a deep chestnut patina slightly green in parts. Hollow |
| cast in pieces. A join is just visible on the hero's right arm, above | | cast in pieces. A join is just visible on the hero's right arm, above |
| the strap, also, under magnification, on the other arm. A space under | | the strap, also, under magnification, on the other arm. A space under |
| the hero's left foot is visible under magnification. This suggests that | | the hero's left foot is visible under magnification. This suggests that |
| the base and arms were cast separately. A typewritten paper label | | the base and arms were cast separately. A typewritten paper label |
| pasted to the wooden base reads `Constantine lonidcs Collection'. | | pasted to the wooden base reads `Constantine lonidcs Collection'. |
| Bequcathcd by the Revd J. W. R Brocklebank in November 1926. | | Bequcathcd by the Revd J. W. R Brocklebank in November 1926. |
| Acquired by him after I January 1911 (when not listed in a letter | | Acquired by him after I January 1911 (when not listed in a letter |
| bythesculptortoBrocklebankconccmingtheworksofhiswhich | | bythesculptortoBrocklebankconccmingtheworksofhiswhich |
| were in the latter's possession) and probably after 1913 (since it is | | were in the latter's possession) and probably after 1913 (since it is |
| unmentioned in the letters of 1911,1912, and 1913 by Gilbert to | | unmentioned in the letters of 1911,1912, and 1913 by Gilbert to |
| Brocklebank). Apparently acquired by Brocklebank from the | | Brocklebank). Apparently acquired by Brocklebank from the |
| collection of Constantinc lonides ( see label described above) whose | | collection of Constantinc lonides ( see label described above) whose |
| collection was formed in ljondon in the 1880s and 1890s. No. 29 | | collection was formed in ljondon in the 1880s and 1890s. No. 29 |
| 3eggeresTans±:I:y:trhec;:tgos;:eTd:,T8;,9£7£s,.Astatuettcst | | 3eggeresTans±:I:y:trhec;:tgos;:eTd:,T8;,9£7£s,.Astatuettcst |
| I"% was commissioned in Perugia in the summer of 1882 | | I"% was commissioned in Perugia in the summer of 1882 |
| for £100 after the success of the PGzfG%J (Nos. 497-9) by | | for £100 after the success of the PGzfG%J (Nos. 497-9) by |
| Gilber['s keen admirer, the President of the Royal Academy, | | Gilber['s keen admirer, the President of the Royal Academy, |
| Ijord Leighton, who was then involved in making sculpture | | Ijord Leighton, who was then involved in making sculpture |
| of his own (Nos. 532-3). The subject was left to the artist | | of his own (Nos. 532-3). The subject was left to the artist |
| who thought first of Leighton's `penchant for classical | | who thought first of Leighton's `penchant for classical |
| subjects; it must bc something classical and appropriate for | | subjects; it must bc something classical and appropriate for |
| bronze . . . It flashed across me', Gilbert rccallcd, `that I was | | bronze . . . It flashed across me', Gilbert rccallcd, `that I was |
| very ambitious: why not "Icarus" with his desire for flight' | | very ambitious: why not "Icarus" with his desire for flight' |
| (I. MCAllister, A//#Gd G;/de# (Ijondon, 1929), 62). The | | (I. MCAllister, A//#Gd G;/de# (Ijondon, 1929), 62). The |
| origival bronze, modelled in Italy in 1883 and 1884 and | | origival bronze, modelled in Italy in 1883 and 1884 and |
| incised `Rome 1884', is 106.7 cms. in height (the National | | incised `Rome 1884', is 106.7 cms. in height (the National |
| Museum of wales, Cardiff) and was exhibited at the Royal | | Museum of wales, Cardiff) and was exhibited at the Royal |
| Academy in 1884 (as no. 1855) to great acclaim. No figure | | Academy in 1884 (as no. 1855) to great acclaim. No figure |
| made by a British sculptor before Gilbcrt's PG7fG%f possessed | | made by a British sculptor before Gilbcrt's PG7fG%f possessed |
| a comparable fomal or psycholoScal fascination: its sinuous | | a comparable fomal or psycholoScal fascination: its sinuous |
| line and tense grace are suggestive of complex thoughts and | | line and tense grace are suggestive of complex thoughts and |
| feelings in precarious balance. And the surface of the origival | | feelings in precarious balance. And the surface of the origival |
| bronzcpossessesanervousvitalityunprecedentedinanywork | | bronzcpossessesanervousvitalityunprecedentedinanywork |
| cast in this country. | | cast in this country. |
| The origival Jc¢owf was cast under Gilbert's own direction | | The origival Jc¢owf was cast under Gilbert's own direction |
| at the foundy of Sabatino de Angclis in Naples. It is unique | | at the foundy of Sabatino de Angclis in Naples. It is unique |
| and there is some reason to suppose that it was cast by the | | and there is some reason to suppose that it was cast by the |
| `direct mcthod' (the wax modelled over a prepared core) | | `direct mcthod' (the wax modelled over a prepared core) |
| rather than by the usual indirect method of making the wax | | rather than by the usual indirect method of making the wax |
| model from a mould of the oriSnal clay (or more hkcly from | | model from a mould of the oriSnal clay (or more hkcly from |
| a mould of a plaster cast made from a mould of the origival | | a mould of a plaster cast made from a mould of the origival |
| clay)-see Duncan James, `Alfred Gilbert and the Use of | | clay)-see Duncan James, `Alfred Gilbert and the Use of |
| Nineteenth-Century Founding Techniques' , in R. Dorment, -irlf red Gilliert: Sc; | | Nineteenth-Century Founding Techniques' , in R. Dorment, -irlf red Gilliert: Sc; |
| lptor ?nd qo.Idspeith (:Poryal r±_&_d=T!.:. | | lptor ?nd qo.Idspeith (:Poryal r±_&_d=T!.:. |
| Ijondon,1986), 234. Certainly the casting of the Jc¢y%f was | | Ijondon,1986), 234. Certainly the casting of the Jc¢y%f was |
| regardedasquitcdistinctfromthatofGilbert'searlicrPGrfG%J. | | regardedasquitcdistinctfromthatofGilbert'searlicrPGrfG%J. |
| (The P„„ap however, contrary to the assumptions made in | | (The P„„ap however, contrary to the assumptions made in |
| all recent literature, may never have been cast by the lost-wax | | all recent literature, may never have been cast by the lost-wax |
| process, even by the indirect method-see No. 497. ) | | process, even by the indirect method-see No. 497. ) |
| The de Angelis foundry, which specialized in high quality | | The de Angelis foundry, which specialized in high quality |
| reproductions of the antiquities in the Archaeoloalcal | | reproductions of the antiquities in the Archaeoloalcal |
| Museum, Naples (scc No. 5), seems, together with the | | Museum, Naples (scc No. 5), seems, together with the |
| foundry established by Vincenzo Gemito (discussed below), | | foundry established by Vincenzo Gemito (discussed below), |
| to have made Naples in the carly l880s one of the three chief | | to have made Naples in the carly l880s one of the three chief |
| European ccntrcs for casting by the lost-wax method, the | | European ccntrcs for casting by the lost-wax method, the |
| other acclaimed foundries for this process being those of the | | other acclaimed foundries for this process being those of the |
| Gonon finily in Paris (for which see No. 251 ) and of the | | Gonon finily in Paris (for which see No. 251 ) and of the |
| Compagnic dcs Bronzes in Brussels. Publicity for the latter | | Compagnic dcs Bronzes in Brussels. Publicity for the latter |
| foundry had been provided, shortly before Jc¢rar was | | foundry had been provided, shortly before Jc¢rar was |
| exhibited, by Gilbert's employer, teacher, and admirer Edgar | | exhibited, by Gilbert's employer, teacher, and admirer Edgar |
| Bochm, whose statuette of the famous race-horse Crceeo7'i7?c | | Bochm, whose statuette of the famous race-horse Crceeo7'i7?c |
| was exhibited at the Grosvenor Gallery in 1883 with a special | | was exhibited at the Grosvenor Gallery in 1883 with a special |
| note that it `has been cast at Brussels in the ancient "cire | | note that it `has been cast at Brussels in the ancient "cire |
| pcrduc" process, and is cast in one piece' (M. Stocker, Ray#/¢.¢ | | pcrduc" process, and is cast in one piece' (M. Stocker, Ray#/¢.¢ |
| and Realist: The Life and Word Of Sir Jose2h Edgar Bochm | | and Realist: The Life and Word Of Sir Jose2h Edgar Bochm |
| (New York and I.ondon, 1988), 307-8 and nos. 3334). | | (New York and I.ondon, 1988), 307-8 and nos. 3334). |
| CrGaco7'7cc had been commissioned by Sir John Savilc Lumley | | CrGaco7'7cc had been commissioned by Sir John Savilc Lumley |
| (later I.ord Savile), the British consul in Belgum, whose | | (later I.ord Savile), the British consul in Belgum, whose |
| interest in lost-wax casting prompted him to compile a report | | interest in lost-wax casting prompted him to compile a report |
| on the process for the Board of Trade (a copy, from the | | on the process for the Board of Trade (a copy, from the |
| collection of C. D. E. Fortnum, is in the Ashmolean Library) | | collection of C. D. E. Fortnum, is in the Ashmolean Library) |
| which was published in modified form in the 47:c4¢.£#£, 31 | | which was published in modified form in the 47:c4¢.£#£, 31 |
| (1884),130-I and 140-1, | | (1884),130-I and 140-1, |
| During the late l880s and early l890s, the practice of lost-wax | | During the late l880s and early l890s, the practice of lost-wax |
| casting became far more common both in England and | | casting became far more common both in England and |
| France. In England in 1888 J. W. Singer and Son built a new | | France. In England in 1888 J. W. Singer and Son built a new |
| foundry at Fromc under Herbert Singer's direction which | | foundry at Fromc under Herbert Singer's direction which |
| was suited to this method. It was introduced at the Thames | | was suited to this method. It was introduced at the Thames |
| Ditton foundry of Cox and Sons under the direction of James | | Ditton foundry of Cox and Sons under the direction of James |
| Moore shortly after 1890 (S. Beattie, T77c Ncil7 Sc„/Pf#rt7 | | Moore shortly after 1890 (S. Beattie, T77c Ncil7 Sc„/Pf#rt7 |
| (I.ondon and New Haven, Conn.,1983),188 and 191). A | | (I.ondon and New Haven, Conn.,1983),188 and 191). A |
| Roman, Alessandro Parlanti, established a foundry in Parson's | | Roman, Alessandro Parlanti, established a foundry in Parson's |
| Grccn, Fulham, in the same years and Gilbert was closely | | Grccn, Fulham, in the same years and Gilbert was closely |
| associated with him although he also gave work to the | | associated with him although he also gave work to the |
| Compagrie des Bronzes which was certainly his principal | | Compagrie des Bronzes which was certainly his principal |
| foundry after 1900. Either of these two latter foundries could | | foundry after 1900. Either of these two latter foundries could |
| have been responsible for the small edition of reductions of | | have been responsible for the small edition of reductions of |
| the origival Jc¢7.#f of which the Ashmolean's bronze is an | | the origival Jc¢7.#f of which the Ashmolean's bronze is an |
| example, but it is not likely that thcsc were lost-wax casts. | | example, but it is not likely that thcsc were lost-wax casts. |
| On close investigation they are seen to have been composed | | On close investigation they are seen to have been composed |
| of separately cast units which suggests the sand-cast process | | of separately cast units which suggests the sand-cast process |
| in which the Compagnie des Bronzes also excelled. | | in which the Compagnie des Bronzes also excelled. |
| According to the rccollcctions of w. Goscombc John not | | According to the rccollcctions of w. Goscombc John not |
| more than a dozen casts of the Jc¢7.#f in this size were made | | more than a dozen casts of the Jc¢7.#f in this size were made |
| before the moulds were broken and Dormcnt (Royal Academy | | before the moulds were broken and Dormcnt (Royal Academy |
| catalogue cited above, pp.Ilo-12) observes that it seems | | catalogue cited above, pp.Ilo-12) observes that it seems |
| likely that they were all made before 1900. Two other casts | | likely that they were all made before 1900. Two other casts |
| from this edition are known, both of which wcrc included in | | from this edition are known, both of which wcrc included in |
| the Royal Academy exhibition of 1986: a silvered version | | the Royal Academy exhibition of 1986: a silvered version |
| belongivg to the Fine Art Society and a version, identical in | | belongivg to the Fine Art Society and a version, identical in |
| patina to the Ashmolcan's, belonSng to the Tate Gallery. The | | patina to the Ashmolcan's, belonSng to the Tate Gallery. The |
| latter is incised in the back of the base with the artist's initials | | latter is incised in the back of the base with the artist's initials |
| Within a circle and, unlike the Ashmolean and Fine Art Society | | Within a circle and, unlike the Ashmolean and Fine Art Society |
| casts, the forked tongue of the serpent attacking the bird on | | casts, the forked tongue of the serpent attacking the bird on |
| the base has not been broken off. | | the base has not been broken off. |
| The character of the naturalistic base with the bird and | | The character of the naturalistic base with the bird and |
| snake in the origival bronze is far more complex than in the | | snake in the origival bronze is far more complex than in the |
| reductions. It must represent, as has often been observed, a | | reductions. It must represent, as has often been observed, a |
| response to the French `animalicr' bronzes in the manner of | | response to the French `animalicr' bronzes in the manner of |
| Barye, but, more specifically, it is surely an exercise in the | | Barye, but, more specifically, it is surely an exercise in the |
| subject-matter with which Gonon had demonstrated his | | subject-matter with which Gonon had demonstrated his |
| virtuosity in lost-wax casting (see No. 251 ): the textures of | | virtuosity in lost-wax casting (see No. 251 ): the textures of |
| snake-skin and feathers and the fraSlity of serpent tongues | | snake-skin and feathers and the fraSlity of serpent tongues |
| and bird's legs represented an obvious challenge. Gilbert was | | and bird's legs represented an obvious challenge. Gilbert was |
| intensely interested in ¢„¢.owe/¢.cr sculpture when in Paris in | | intensely interested in ¢„¢.owe/¢.cr sculpture when in Paris in |
| 1878. Hc made many studies at the zoo all of which wcrc | | 1878. Hc made many studies at the zoo all of which wcrc |
| destroyed (MCAllister, op. cit., 49). If Gonon was important | | destroyed (MCAllister, op. cit., 49). If Gonon was important |
| for Gilbert, so too, as seems not to have been previously | | for Gilbert, so too, as seems not to have been previously |
| pointed out, was Vincenzo Gemito by whose work no artist | | pointed out, was Vincenzo Gemito by whose work no artist |
| visiting Naples in the early l880s, least of all a sculptor | | visiting Naples in the early l880s, least of all a sculptor |
| especially interested in bronze casting, could fan to bc | | especially interested in bronze casting, could fan to bc |
| attracted. Gemito's own foundry, projected by the Belgian | | attracted. Gemito's own foundry, projected by the Belgian |
| entrepreneur Baron Oscar de Mesnil in 1875, commenced | | entrepreneur Baron Oscar de Mesnil in 1875, commenced |
| production in 1883, the year in which Gilbert first had his | | production in 1883, the year in which Gilbert first had his |
| bronzes cast in Naples. Contemporary with the Jc¢7'i¢¢J arc | | bronzes cast in Naples. Contemporary with the Jc¢7'i¢¢J arc |
| two heads made by Gilbert as experiments in lost-wax casting: | | two heads made by Gilbert as experiments in lost-wax casting: |
| the HG¢d a/¢gG.71/ (National Museum of wales, Cardiff), | | the HG¢d a/¢gG.71/ (National Museum of wales, Cardiff), |
| modelled in 1882, cast in 1883 and exhibited in that year at | | modelled in 1882, cast in 1883 and exhibited in that year at |
| the Royal Academy (no. 1600, `Study of a Head'), and the | | the Royal Academy (no. 1600, `Study of a Head'), and the |
| He¢d a/a C¢Pr¢./f47cr7ce¢7?, modelled 1883 and exhibited in | | He¢d a/a C¢Pr¢./f47cr7ce¢7?, modelled 1883 and exhibited in |
| 1884 with Jc¢r#f at the Royal Academy (no. 1699, `Study'), | | 1884 with Jc¢r#f at the Royal Academy (no. 1699, `Study'), |
| of which a later casting is in the National Gallery of victoria, | | of which a later casting is in the National Gallery of victoria, |
| Mclboumc (Royal Academy exhibition cited above, nos. 12 | | Mclboumc (Royal Academy exhibition cited above, nos. 12 |
| and 14, pp.108-9). The second of these heads is very close | | and 14, pp.108-9). The second of these heads is very close |
| to the bust of an old man made by Gcmito in the same | | to the bust of an old man made by Gcmito in the same |
| period: in both every minute wrinkle of the skin is perfectly | | period: in both every minute wrinkle of the skin is perfectly |
| recorded (a cast of this bust was formerly on loan to the | | recorded (a cast of this bust was formerly on loan to the |
| Cleveland Museum of Art,1174.78, and another was | | Cleveland Museum of Art,1174.78, and another was |
| exhibited with the David Daniels Collection, Minneapolis | | exhibited with the David Daniels Collection, Minneapolis |
| Institute of Art, 1979-80). The subtle textures and colouring | | Institute of Art, 1979-80). The subtle textures and colouring |
| (especially the traces of gold in the hair) in Gilbert's Head a/ | | (especially the traces of gold in the hair) in Gilbert's Head a/ |
| ¢g¢.71/ recall such outstanding works by Gcmito as his | | ¢g¢.71/ recall such outstanding works by Gcmito as his |
| P¢¢./ofoj)der'f ¢c¢d of 1883 ( Cleveland Museum of Art, 79.42) | | P¢¢./ofoj)der'f ¢c¢d of 1883 ( Cleveland Museum of Art, 79.42) |
| and the beautiful but plebeian character of the model (the | | and the beautiful but plebeian character of the model (the |
| `Srl' was the Roman nurse of Gilbert's child) is reminiscent | | `Srl' was the Roman nurse of Gilbert's child) is reminiscent |
| of Gemito's use of urchins in his earliest and most famous | | of Gemito's use of urchins in his earliest and most famous |
| works. | | works. |
| 75 | | 75 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Perhaps foundry of Compagnie des Bronzes, Brussels | | Perhaps foundry of Compagnie des Bronzes, Brussels |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 501. An Offering to Hymen | | 501. An Offering to Hymen |
| 29.55 cms. (height of bronze including base); I.45 cms. (height | | 29.55 cms. (height of bronze including base); I.45 cms. (height |
| of lapis plinth); 7 cms. (diameter of lapis plinth) | | of lapis plinth); 7 cms. (diameter of lapis plinth) |
| Bronze with a dark slightly green brown patina, worn, where handled | | Bronze with a dark slightly green brown patina, worn, where handled |
| around thighs and also at tip of nose, to a chestnut natural patina. | | around thighs and also at tip of nose, to a chestnut natural patina. |
| The hapy base is of slightly darker brown patina. Hollow, probably | | The hapy base is of slightly darker brown patina. Hollow, probably |
| lost-wax, cast. The small figure of Anteros, together with the sprig | | lost-wax, cast. The small figure of Anteros, together with the sprig |
| of rosemary, have been fashioned separately and soldered in place, | | of rosemary, have been fashioned separately and soldered in place, |
| The hapy base was probably cast separately. Figure and base arc | | The hapy base was probably cast separately. Figure and base arc |
| bolted to a plinth of lapis lazuli. | | bolted to a plinth of lapis lazuli. |
| Bequeathed by the Rcvd J. W. R Brocklebank in November 1926. | | Bequeathed by the Rcvd J. W. R Brocklebank in November 1926. |
| Acquired before 28 June 1910. No. 21 in Andrew Shirley's receipt | | Acquired before 28 June 1910. No. 21 in Andrew Shirley's receipt |
| of January 1927 as `A statuette, Nude Female standing holding an | | of January 1927 as `A statuette, Nude Female standing holding an |
| effigy of an Angel' . | | effigy of an Angel' . |
| Gilbert exhibited a large bronze version of this subject at the | | Gilbert exhibited a large bronze version of this subject at the |
| Grosvcnor Gallery in 1886, having modelled the figure, | | Grosvcnor Gallery in 1886, having modelled the figure, |
| perhaps in the previous year, apparently emplo)ing Miss | | perhaps in the previous year, apparently emplo)ing Miss |
| Pcttigrcw as his model. He might have had the idea a few | | Pcttigrcw as his model. He might have had the idea a few |
| years earlier in Rome; in any case, he seems to have `conccived | | years earlier in Rome; in any case, he seems to have `conccived |
| of it as the third statue in the progression from Perscus to | | of it as the third statue in the progression from Perscus to |
| Icanis of adolcsccnts facing the passage from youth to | | Icanis of adolcsccnts facing the passage from youth to |
| maturity', as RIchard Dorment observes in his catalogue entry | | maturity', as RIchard Dorment observes in his catalogue entry |
| for the recently rediscovered bronze of 1886 in A//„cd G¢./de7¢.. | | for the recently rediscovered bronze of 1886 in A//„cd G¢./de7¢.. |
| Sc#/pfoy ¢„d Go/drow¢.£¢ (Royal Academy, London, 1986) | | Sc#/pfoy ¢„d Go/drow¢.£¢ (Royal Academy, London, 1986) |
| (no.18, pp.112~14). On the other hand, the stiff pose, the | | (no.18, pp.112~14). On the other hand, the stiff pose, the |
| attributes, and the base reflect a reaction away from his earlier | | attributes, and the base reflect a reaction away from his earlier |
| cxcrciscs in complex torsion, a deeper interest in the hicratic | | cxcrciscs in complex torsion, a deeper interest in the hicratic |
| and symbolic (as distinct from allegorical narrative), and a | | and symbolic (as distinct from allegorical narrative), and a |
| novel fascination with grotesque `cinqueccnto' ornament, | | novel fascination with grotesque `cinqueccnto' ornament, |
| soon to develop into an obsession. It is not known when | | soon to develop into an obsession. It is not known when |
| small casts such as that in the Ashmolean were first made but | | small casts such as that in the Ashmolean were first made but |
| it was probably during the first decade of the twentieth century. | | it was probably during the first decade of the twentieth century. |
| In these small versions the figure (which is conceived of as | | In these small versions the figure (which is conceived of as |
| standing before the altar of the god of marriage) is given a | | standing before the altar of the god of marriage) is given a |
| variety of votive offerings sometimes in silver, sometimes in | | variety of votive offerings sometimes in silver, sometimes in |
| copper. These include a chalice, a rose, a putto with an inverted | | copper. These include a chalice, a rose, a putto with an inverted |
| torch, a sprig of rosemary (as here), and a figure of Antcros | | torch, a sprig of rosemary (as here), and a figure of Antcros |
| (as here). The A7¢fg7iof is a reduction of a figure, derived from | | (as here). The A7¢fg7iof is a reduction of a figure, derived from |
| the Jc¢7#f (see No. 500), which Gilbert made in 1893. The | | the Jc¢7#f (see No. 500), which Gilbert made in 1893. The |
| small O#G"."g fo H)iowe" in the City Art Gallery, Manchester | | small O#G"."g fo H)iowe" in the City Art Gallery, Manchester |
| (no. 19 in the Royal Academy exhibition) is documented as | | (no. 19 in the Royal Academy exhibition) is documented as |
| bought from Messrs Brown and Phillips in 1912. The version | | bought from Messrs Brown and Phillips in 1912. The version |
| in the Victoria and Albert (79-1904) was acquired in 1904. | | in the Victoria and Albert (79-1904) was acquired in 1904. |
| The Ashmolean's version was acquired before 28 June 1910. | | The Ashmolean's version was acquired before 28 June 1910. |
| Gilbert, writing to Brocklcbank from Faulconer's Hotel, | | Gilbert, writing to Brocklcbank from Faulconer's Hotel, |
| I.ondon, on that date in a letter mostly about a S£ Gco%ge | | I.ondon, on that date in a letter mostly about a S£ Gco%ge |
| (see No. 506), commented, `1 an sorry you have bought the | | (see No. 506), commented, `1 an sorry you have bought the |
| sman "Offering to Hymen", for I fear you have paid an | | sman "Offering to Hymen", for I fear you have paid an |
| excessive price for it while I might have found you an example | | excessive price for it while I might have found you an example |
| taken direct from my origival model, and chased by myself, | | taken direct from my origival model, and chased by myself, |
| at a modcratc price'. This would suggest that it was a recent | | at a modcratc price'. This would suggest that it was a recent |
| Purchase by Brocklebank, also that quite a few casts were | | Purchase by Brocklebank, also that quite a few casts were |
| then available on the art market. It might be taken-indccd | | then available on the art market. It might be taken-indccd |
| was meant to be taken-as an allegation that some of these | | was meant to be taken-as an allegation that some of these |
| were of inferior quality, and that Gilbert had a few specially | | were of inferior quality, and that Gilbert had a few specially |
| finished examples, but it was in the sculptor's interests to sell | | finished examples, but it was in the sculptor's interests to sell |
| direct to Brocklebank and he was also prey to anxieties | | direct to Brocklebank and he was also prey to anxieties |
| concerning the sale of his bronzes in `Bond Strect' (scc No. | | concerning the sale of his bronzes in `Bond Strect' (scc No. |
| n | | n | @@PROCESS |
| 497) which may not have been based on a just perception of | | 497) which may not have been based on a just perception of |
| lower standards but motivated by rescntmcnt at the profits in | | lower standards but motivated by rescntmcnt at the profits in |
| which he had no share. | | which he had no share. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Perhaps foundry of Compagnie des Bronzcs, Brussels | | Perhaps foundry of Compagnie des Bronzcs, Brussels |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| 5o2. Victory | | 5o2. Victory |
| 48.5 cms. (height including entire base and uppermost frond of | | 48.5 cms. (height including entire base and uppermost frond of |
| palm); 21.5 cms. (height of figure from big toe to crown of | | palm); 21.5 cms. (height of figure from big toe to crown of |
| head); 10.2 cms. (height of base); 12.9cms. (diameter of base) | | head); 10.2 cms. (height of base); 12.9cms. (diameter of base) |
| Bronze with a slightly green-black patina worn to chestnut in some | | Bronze with a slightly green-black patina worn to chestnut in some |
| salient folds of drapery. Hollow, probably lost-wax, cast. The raised | | salient folds of drapery. Hollow, probably lost-wax, cast. The raised |
| right am and most of the trumpet are both cast separately (the joins | | right am and most of the trumpet are both cast separately (the joins |
| are hardly visible) and the palm (of copper?) is fashioned separately. | | are hardly visible) and the palm (of copper?) is fashioned separately. |
| There is a small hole in the drapery between the feet. The figure is | | There is a small hole in the drapery between the feet. The figure is |
| mounted on a ball of dark brown and white (? AIgcrian) onyx and | | mounted on a ball of dark brown and white (? AIgcrian) onyx and |
| a base of ebohized wood consisting of a turned and waisted soclc | | a base of ebohized wood consisting of a turned and waisted soclc |
| on an octagonal plinth. | | on an octagonal plinth. |
| Bequeathed by the Rcvd J. W. R Brocklebank in November 1926. | | Bequeathed by the Rcvd J. W. R Brocklebank in November 1926. |
| Bought by him before 22 July 1910 `in Bond St.'. No. 28 in Andrew | | Bought by him before 22 July 1910 `in Bond St.'. No. 28 in Andrew |
| Shirley's receipt of January 1927 as `Victory'. | | Shirley's receipt of January 1927 as `Victory'. |
| Gilbert's great Jubilee monument to Queen Victoria, | | Gilbert's great Jubilee monument to Queen Victoria, |
| presented to the City of winchester by William Ingham | | presented to the City of winchester by William Ingham |
| Bywater, High Sheriff of Hampshirc, was exhibited as a | | Bywater, High Sheriff of Hampshirc, was exhibited as a |
| bronzed plaster at Winchester on 17 August 1887 and then | | bronzed plaster at Winchester on 17 August 1887 and then |
| shown again at the Royal Academy Exhibition in 1888. The | | shown again at the Royal Academy Exhibition in 1888. The |
| figure of victory crowning the orb was perhaps the most | | figure of victory crowning the orb was perhaps the most |
| notable of the many inventive accessories and details with | | notable of the many inventive accessories and details with |
| which the figure and throne bristlcd. The Victory on the | | which the figure and throne bristlcd. The Victory on the |
| origival bronze was wrenched from the queen's grasp by a | | origival bronze was wrenched from the queen's grasp by a |
| vandal and has not been replaced, but Gilbert had others cast | | vandal and has not been replaced, but Gilbert had others cast |
| as independent works of art, exhibiting a statuette in silver at | | as independent works of art, exhibiting a statuette in silver at |
| the Royal Academy exhibition in 1891 (no. 2069). It is not | | the Royal Academy exhibition in 1891 (no. 2069). It is not |
| certain when the bronze statuettes were first edited, but | | certain when the bronze statuettes were first edited, but |
| perhaps not until more than a decade after this. The version | | perhaps not until more than a decade after this. The version |
| in the Victoria and Albert Museum ( 1050-1905), which is | | in the Victoria and Albert Museum ( 1050-1905), which is |
| identical with the Ashmolean's, was acquired in 1905. In | | identical with the Ashmolean's, was acquired in 1905. In |
| 1903 Gnbcrt was to)ing with the idea of making a large | | 1903 Gnbcrt was to)ing with the idea of making a large |
| version of the figure to serve as a Boer War memorial. In | | version of the figure to serve as a Boer War memorial. In |
| reading Gflbert's correspondence with Brocklcbank on this | | reading Gflbert's correspondence with Brocklcbank on this |
| subject it is important to bear in mind that Brocklebank | | subject it is important to bear in mind that Brocklebank |
| eventually owned two versions of the statuette, the other | | eventually owned two versions of the statuette, the other |
| version being smaller and Slded. The Ashmolean's bronze | | version being smaller and Slded. The Ashmolean's bronze |
| was exhibited at the Royal Academy exhibition 4//#G¢ G£./4G7¢.. | | was exhibited at the Royal Academy exhibition 4//#G¢ G£./4G7¢.. |
| Sc#/p}or a"d Go/drow¢.£¢ ( 1986) as no. 34 with the incorrect | | Sc#/p}or a"d Go/drow¢.£¢ ( 1986) as no. 34 with the incorrect |
| infomation that it was purchased from the artist in 1911 and | | infomation that it was purchased from the artist in 1911 and |
| can therefore be dated to 1910. It seems in fact to have been | | can therefore be dated to 1910. It seems in fact to have been |
| purchased in 1910. | | purchased in 1910. |
| On 20 January 1910 Gilbert informed Brocklebank that he | | On 20 January 1910 Gilbert informed Brocklebank that he |
| was able to let him have a VG.cfo7)+`not the small one you | | was able to let him have a VG.cfo7)+`not the small one you |
| saw here but the origival size'. In his next letter of 30 January | | saw here but the origival size'. In his next letter of 30 January |
| hc wrote, | | hc wrote, |
| I an grateful to you for your attitude towards the pirated copies of | | I an grateful to you for your attitude towards the pirated copies of |
| my work. I hope when you see the example of the original size | | my work. I hope when you see the example of the original size |
| which I hope to send ere long together with the St. George that | | which I hope to send ere long together with the St. George that |
| you will not regret your decision-meanwhile you will be doing me | | you will not regret your decision-meanwhile you will be doing me |
| a great favour if you will let it be well and generally known that these | | a great favour if you will let it be well and generally known that these |
| Bond Street reproductions arc none other than pirated copies of | | Bond Street reproductions arc none other than pirated copies of |
| my work. | | my work. |
| 78 | | 78 |
| The next reference to a V¢.cfory comes in a letter of 28 June | | The next reference to a V¢.cfory comes in a letter of 28 June |
| 1910: `1 have also a small "Victory" equally well produced, | | 1910: `1 have also a small "Victory" equally well produced, |
| which I will send with the other figure, of course-nly for | | which I will send with the other figure, of course-nly for |
| your approval. ' Meanwhile, however, Brocklebank had | | your approval. ' Meanwhile, however, Brocklebank had |
| acquired a VG.cfory elsewhcrc. On 22 July Gilbert wrote: `In | | acquired a VG.cfory elsewhcrc. On 22 July Gilbert wrote: `In |
| your last letter I understood you to say that you had already | | your last letter I understood you to say that you had already |
| bought a small "Victory" in Bond Street so I put aside the | | bought a small "Victory" in Bond Street so I put aside the |
| one I intended for you, as no longer required.' On 28 July | | one I intended for you, as no longer required.' On 28 July |
| he pressed Brocklcbank for an explanation: `With regard to | | he pressed Brocklcbank for an explanation: `With regard to |
| my mention of a Victory in my letter. I am awaiting your | | my mention of a Victory in my letter. I am awaiting your |
| reply so that I may well understand your allusion to the said | | reply so that I may well understand your allusion to the said |
| "Victory", after what I understood you to say as to your | | "Victory", after what I understood you to say as to your |
| purchase of an example in Bond Street.' On 22 September hc | | purchase of an example in Bond Street.' On 22 September hc |
| wrote, `1 cannot say that I am much amused, though | | wrote, `1 cannot say that I am much amused, though |
| particularly interested, at the news you give me, that you have | | particularly interested, at the news you give me, that you have |
| received a copy of my small Victory. I am rather saddened, | | received a copy of my small Victory. I am rather saddened, |
| at the thought, that while I am struggling to live by my work, | | at the thought, that while I am struggling to live by my work, |
| others should be living upon the fruits of my labour.' | | others should be living upon the fruits of my labour.' |
| However, Brocklebank seems to have disarmed Gilbert with | | However, Brocklebank seems to have disarmed Gilbert with |
| praise for the work and a rcqucst for advice over cleaning | | praise for the work and a rcqucst for advice over cleaning |
| and polishing it, and Gilbert rcphed on 27 September 1910, | | and polishing it, and Gilbert rcphed on 27 September 1910, |
| As to the little Victory (like all triumphs) it only wants nursing and | | As to the little Victory (like all triumphs) it only wants nursing and |
| caressing with a silk handkerchief, or something soft, from time to | | caressing with a silk handkerchief, or something soft, from time to |
| time. A little bees wax-in place of butter or oilngcntly rubbed on | | time. A little bees wax-in place of butter or oilngcntly rubbed on |
| will keep the colour for a very long time, and the Victory will shine | | will keep the colour for a very long time, and the Victory will shine |
| on all its contours, as though clad in light. | | on all its contours, as though clad in light. |
| On New Year's Day 1911 Gilbert responded to a letter | | On New Year's Day 1911 Gilbert responded to a letter |
| expressing gcncral thanks and gratitude, | | expressing gcncral thanks and gratitude, |
| You say that of the four statuettes you have of mine the one most | | You say that of the four statuettes you have of mine the one most |
| admired is `Victory'. You are not aware possibly that [its?] apparent | | admired is `Victory'. You are not aware possibly that [its?] apparent |
| joyousness, is due to the fact that it was conceived and executed | | joyousness, is due to the fact that it was conceived and executed |
| during the very few hours of happiness, I have known, in a now, | | during the very few hours of happiness, I have known, in a now, |
| almost long, and eventful life. Even the original, brought mc sorrow. | | almost long, and eventful life. Even the original, brought mc sorrow. |
| I am afroid that my whole being has leant to be philosophical rather | | I am afroid that my whole being has leant to be philosophical rather |
| than sanguine, as it was once. I lived then to work, now I work to | | than sanguine, as it was once. I lived then to work, now I work to |
| live for a pittance. | | live for a pittance. |
| It is unlikely that the little V¢.cfory acquired in Bond Street | | It is unlikely that the little V¢.cfory acquired in Bond Street |
| is to be identified as the gilded version now lost (No. 503): | | is to be identified as the gilded version now lost (No. 503): |
| above au, the application of wax would bc more appropriate | | above au, the application of wax would bc more appropriate |
| for an unSlded patina. It is odd that Gilbert docs not refer | | for an unSlded patina. It is odd that Gilbert docs not refer |
| to two versions in his letter of 1911. It seems likely au the | | to two versions in his letter of 1911. It seems likely au the |
| same that the Slded version was acquired at the same time | | same that the Slded version was acquired at the same time |
| and Gilbert's letters imply that the model was available in two | | and Gilbert's letters imply that the model was available in two |
| sizes. | | sizes. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| 80 | | 80 |
| Unknown foundry | | Unknown foundry |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 503. Victory (untraced) | | 503. Victory (untraced) |
| Said to have been 9" high. | | Said to have been 9" high. |
| Metal, probably bronze, `heavily-dlt'. | | Metal, probably bronze, `heavily-dlt'. |
| BequeathedbytheRevdJ.W.RBrocklebankinNovembcr1926. | | BequeathedbytheRevdJ.W.RBrocklebankinNovembcr1926. |
| Probably acquired by him in 1910 or 1911. No.19 on Andrew | | Probably acquired by him in 1910 or 1911. No.19 on Andrew |
| Shirley's receipt of 1927 as `A statuette (gilt) Victory standing on a | | Shirley's receipt of 1927 as `A statuette (gilt) Victory standing on a |
| sphere,. | | sphere,. |
| ThiswaspresunablyaversionofthcVjcforyalsorepresented | | ThiswaspresunablyaversionofthcVjcforyalsorepresented |
| in Brocklebank's collection in unorded form. For the | | in Brocklebank's collection in unorded form. For the |
| probable purchase of this bronze from Gilbert in 1910 or | | probable purchase of this bronze from Gilbert in 1910 or |
| 1911 see No. 511. The date when it was lost is unknown, | | 1911 see No. 511. The date when it was lost is unknown, |
| but it may be safely asserted that it would have been most | | but it may be safely asserted that it would have been most |
| unlikely to have gone astray under the scrupulous | | unlikely to have gone astray under the scrupulous |
| housekeeping of C. F. Ben (Keeper 1908-31). A handwritten | | housekeeping of C. F. Ben (Keeper 1908-31). A handwritten |
| note by Ion ljowe in one of the bronze stores dated 29 | | note by Ion ljowe in one of the bronze stores dated 29 |
| Januay 1968 records that the heavily gilt variant of Vjc}ory | | Januay 1968 records that the heavily gilt variant of Vjc}ory |
| was not `seen'-i.e. was not found-when Charles Handlcy | | was not `seen'-i.e. was not found-when Charles Handlcy |
| Read `carne to see the bronzes'. | | Read `carne to see the bronzes'. |
| Probably foundry of Compagnie des Bronzes, Brussels | | Probably foundry of Compagnie des Bronzes, Brussels |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 504. Literature (Wisdom) | | 504. Literature (Wisdom) |
| 22.7 cms. (height of figure); 3.25 cms. (height of bronze base); | | 22.7 cms. (height of figure); 3.25 cms. (height of bronze base); |
| 10.5 cms. (dia.meter of base) | | 10.5 cms. (dia.meter of base) |
| Bronze with a very dark green and grey patina won on some edges | | Bronze with a very dark green and grey patina won on some edges |
| of drapery to the yellow metal. Hollow, probably lost-wax, cast in | | of drapery to the yellow metal. Hollow, probably lost-wax, cast in |
| pieces. The scroll with the hands was cast separately, as was the base. | | pieces. The scroll with the hands was cast separately, as was the base. |
| Some white plaster remains under the upper fold of the scroll. | | Some white plaster remains under the upper fold of the scroll. |
| Inscribed on a paper label under the base in the sculptor's hand are | | Inscribed on a paper label under the base in the sculptor's hand are |
| the words: `REPLICA OF STAT ON THRONE OF / Q. VICTORIA | | the words: `REPLICA OF STAT ON THRONE OF / Q. VICTORIA |
| MEMORIAL AT WINCHESTER / A GILBERT' . | | MEMORIAL AT WINCHESTER / A GILBERT' . |
| Bequeathed by the Revd J. W. R. Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R. Brocklebank in November 1926. |
| Probably acquired by him after 1912. No. 20 in Andrew Shirley's | | Probably acquired by him after 1912. No. 20 in Andrew Shirley's |
| rcccipt of January 1927 as `a statuette, Literature, holding a scroll | | rcccipt of January 1927 as `a statuette, Literature, holding a scroll |
| offame'. | | offame'. |
| The figure is one of the Virtues modelled in 1887 and | | The figure is one of the Virtues modelled in 1887 and |
| exhibited in Winchcster on 17 August that year as a pan of | | exhibited in Winchcster on 17 August that year as a pan of |
| the throne of the Jubilee memorial for Queen Victoria (see | | the throne of the Jubilee memorial for Queen Victoria (see |
| also no. 502). It is placed on the rear of the throne at top | | also no. 502). It is placed on the rear of the throne at top |
| left (see the illustration in M. H. Spielmann, Br¢.f¢.j4 Sc#/Pf#re | | left (see the illustration in M. H. Spielmann, Br¢.f¢.j4 Sc#/Pf#re |
| fli»d Sc#/pforf a/ rodry ( I.ondon, 1901 ), 82). Having made all | | fli»d Sc#/pforf a/ rodry ( I.ondon, 1901 ), 82). Having made all |
| his earliest figure sculpture (PcrJc#J, Jc¢7':#f, and A» O#Gr¢.cog | | his earliest figure sculpture (PcrJc#J, Jc¢7':#f, and A» O#Gr¢.cog |
| fo HyowG") nude Gilbert became fascinated by heavy drapery | | fo HyowG") nude Gilbert became fascinated by heavy drapery |
| and by armour in the later l880s. This figure was anticipated | | and by armour in the later l880s. This figure was anticipated |
| by the similarly waxy and voluminous drapery and scroll of the | | by the similarly waxy and voluminous drapery and scroll of the |
| personification of Zeal in the memorial to Henry Fawcctt of | | personification of Zeal in the memorial to Henry Fawcctt of |
| 1885-7 crcctcd in Westminster Abbey where his first armour-clad | | 1885-7 crcctcd in Westminster Abbey where his first armour-clad |
| figure, Fortitude, also features. | | figure, Fortitude, also features. |
| L¢.£G7¢f#rc was cast as a separate statuette by the Compagnie | | L¢.£G7¢f#rc was cast as a separate statuette by the Compagnie |
| des Bronzes, Brussels, in 1910, but some casts seem to have | | des Bronzes, Brussels, in 1910, but some casts seem to have |
| been available earlier and some of these might even have been | | been available earlier and some of these might even have been |
| cast at the same time as the original. Richard Dorment quotes | | cast at the same time as the original. Richard Dorment quotes |
| an entry in the diary of George Gilbert on 23 June 1906 | | an entry in the diary of George Gilbert on 23 June 1906 |
| concerning a cast with the dealer Horace Littlcjohn of the | | concerning a cast with the dealer Horace Littlcjohn of the |
| John Baillie Gallery, 54 Baker Strcct, Ijondon (see 4//rgd | | John Baillie Gallery, 54 Baker Strcct, Ijondon (see 4//rgd |
| Gilbert: Sculptor and Goldsmith (Ftoryal Alcaideny , hondon, | | Gilbert: Sculptor and Goldsmith (Ftoryal Alcaideny , hondon, |
| 1986), no. 35, p.130). The casts are rare and no other | | 1986), no. 35, p.130). The casts are rare and no other |
| versions are known to me (excepting that on the throne | | versions are known to me (excepting that on the throne |
| itself). There is no reference to L¢.£Gr#£„rg in Gflbcrt's letters | | itself). There is no reference to L¢.£Gr#£„rg in Gflbcrt's letters |
| to Brocklebank during the period 1910-12 and it is likely to | | to Brocklebank during the period 1910-12 and it is likely to |
| have been acquired after the latter year. | | have been acquired after the latter year. |
| 81 | | 81 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Perhaps foundry of Compagnie des Bronzes, Brussels | | Perhaps foundry of Compagnie des Bronzes, Brussels |
| After Sir Alfrcd GILBERT ( 1854-1934) | | After Sir Alfrcd GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 505. Comedy and Tragedy | | 505. Comedy and Tragedy |
| (`Sic vitae') | | (`Sic vitae') |
| 66.6 cms. (height of bronze); 6.3 cms. (height of base); 15 cms. | | 66.6 cms. (height of bronze); 6.3 cms. (height of base); 15 cms. |
| (diameter of base ) | | (diameter of base ) |
| Bronze with a dark green and brown patina, worn to golden brown | | Bronze with a dark green and brown patina, worn to golden brown |
| in salient areas of hair and hat. Hollow, probably sand-cast, in | | in salient areas of hair and hat. Hollow, probably sand-cast, in |
| pieces. Both arms and the mask were apparently cast together as one | | pieces. Both arms and the mask were apparently cast together as one |
| separate piece, the joins in both biceps being evident; the figure's | | separate piece, the joins in both biceps being evident; the figure's |
| right leg is also separately cast but almost invisibly joined. The figure | | right leg is also separately cast but almost invisibly joined. The figure |
| is bolted to its orictnal spinachy serpentine base consisting of a | | is bolted to its orictnal spinachy serpentine base consisting of a |
| turned, waistcd, soclc set on an octagonal plinth also of serpentine. | | turned, waistcd, soclc set on an octagonal plinth also of serpentine. |
| This base is cracked but was mended August 1988 when the | | This base is cracked but was mended August 1988 when the |
| sculpture was also mounted on a spiral column of pc7itzc dG. P#¢£o, | | sculpture was also mounted on a spiral column of pc7itzc dG. P#¢£o, |
| presumably Italian and of c.1880. | | presumably Italian and of c.1880. |
| Bequeathed by the Revd J. W. R. Brocklcbank in November 1926. | | Bequeathed by the Revd J. W. R. Brocklcbank in November 1926. |
| No. 8 in Andrew Shirley's receipt of January 1927: `A statuette | | No. 8 in Andrew Shirley's receipt of January 1927: `A statuette |
| male figure symbolising Tragedy'. Ijong kept in Museum store; | | male figure symbolising Tragedy'. Ijong kept in Museum store; |
| placed on display in the redecorated Combe Gallery in August 1988. | | placed on display in the redecorated Combe Gallery in August 1988. |
| The figure depicts the prop boy in the classical theatre stung | | The figure depicts the prop boy in the classical theatre stung |
| by a bee as he hastens to the stage with a comic mask. The | | by a bee as he hastens to the stage with a comic mask. The |
| title comes from W. S. Gilbcrt's popular one-act play. The | | title comes from W. S. Gilbcrt's popular one-act play. The |
| model was Angelo Colorossi (who is also immortalized in | | model was Angelo Colorossi (who is also immortalized in |
| Gilbcrt's EroJ). A letter cited by Richard Dormcnt in the | | Gilbcrt's EroJ). A letter cited by Richard Dormcnt in the |
| catalogue of the Royal Academy exhibition A//7.cd G¢./der£.. | | catalogue of the Royal Academy exhibition A//7.cd G¢./der£.. |
| Sculptor and Goldsmith Of \986 (no. 22, p. \\7) reveals that | | Sculptor and Goldsmith Of \986 (no. 22, p. \\7) reveals that |
| -rf u*` -.._-i | | -rf u*` -.._-i |
| i-==--.-. | | i-==--.-. |
| work on the figure began on 2 February 1891. It was exhibited | | work on the figure began on 2 February 1891. It was exhibited |
| as a polychromed plaster at the Royal Academy in 1892 (as | | as a polychromed plaster at the Royal Academy in 1892 (as |
| no. 2004), and, probably soon afterwards, was cast in bronze. | | no. 2004), and, probably soon afterwards, was cast in bronze. |
| The oridnal size (presumably corresponding with the | | The oridnal size (presumably corresponding with the |
| exhibited plaster) is that of the version in the Ashmolean, of | | exhibited plaster) is that of the version in the Ashmolean, of |
| which many examples exist (among them examples in the | | which many examples exist (among them examples in the |
| following public couections: National Gallery of scotland, | | following public couections: National Gallery of scotland, |
| no. 2287-xhibited in the exhibition cited above; Leeds City | | no. 2287-xhibited in the exhibition cited above; Leeds City |
| Art Gallery; Nottingham City Art Gallery). Still more | | Art Gallery; Nottingham City Art Gallery). Still more |
| common arc half-size versions many of which include the bee | | common arc half-size versions many of which include the bee |
| (or included it-a hole often remains). These were made by | | (or included it-a hole often remains). These were made by |
| the Compagnie des Bronzes in Brussels in the first decade of | | the Compagnie des Bronzes in Brussels in the first decade of |
| the twentieth century-at least that in the National Gallery | | the twentieth century-at least that in the National Gallery |
| of Art in Washington ( 1984.67. I ) is documcntcd as made | | of Art in Washington ( 1984.67. I ) is documcntcd as made |
| there in 1905. The Victoria and Albcrt Museum acquired its | | there in 1905. The Victoria and Albcrt Museum acquired its |
| small bronze of this size in 1904 (78-1904). Comparison of | | small bronze of this size in 1904 (78-1904). Comparison of |
| these two however immediately reveals a problem for the | | these two however immediately reveals a problem for the |
| Washington bronze is a lost-wax cast, apparently in one piece, | | Washington bronze is a lost-wax cast, apparently in one piece, |
| with a vibrant surface, whereas the latter, and all others that | | with a vibrant surface, whereas the latter, and all others that |
| I have examined with dealers and auctioneers (among these | | I have examined with dealers and auctioneers (among these |
| those sold Sotheby's, I.ondon, 23 June 1987, lot 83, and | | those sold Sotheby's, I.ondon, 23 June 1987, lot 83, and |
| Sotheby's, I.ondon, 26 November 1986, lot 59), are made | | Sotheby's, I.ondon, 26 November 1986, lot 59), are made |
| up of pieces, like the larger version catalogued here, and are | | up of pieces, like the larger version catalogued here, and are |
| sand-casts. The Washington cast also has a different form of | | sand-casts. The Washington cast also has a different form of |
| small round integral bronze base, being higher and consisting | | small round integral bronze base, being higher and consisting |
| of a shallow dome on spreading mouldings. | | of a shallow dome on spreading mouldings. |
| 83 | | 83 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry of the Compagnie des Bronzes, Brussels | | Foundry of the Compagnie des Bronzes, Brussels |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 506. St George | | 506. St George |
| 47.5 cms. (height); 26 cms. (width of base) | | 47.5 cms. (height); 26 cms. (width of base) |
| Bronze with a dull black patina worn to chestnut in some salient | | Bronze with a dull black patina worn to chestnut in some salient |
| parts. Hollow, sand-cast, in sixteen pieces: helmet, head, shoulder | | parts. Hollow, sand-cast, in sixteen pieces: helmet, head, shoulder |
| greaves (2), arms (2), hands (2), torso, legs (2), thigh protectors | | greaves (2), arms (2), hands (2), torso, legs (2), thigh protectors |
| (2), knee protectors (2), base. The shoulder armour to the figure's | | (2), knee protectors (2), base. The shoulder armour to the figure's |
| right is loose. | | right is loose. |
| Bequeathed by the Revd J. W. R. Brocklcbank in 1927. No. 14 in | | Bequeathed by the Revd J. W. R. Brocklcbank in 1927. No. 14 in |
| Andrew Shirley's receipt of January 1927: `St. George, standing | | Andrew Shirley's receipt of January 1927: `St. George, standing |
| holding sword with crucifix'. Purchased by Brocklebank from Gilbert | | holding sword with crucifix'. Purchased by Brocklebank from Gilbert |
| in 1910 (see below). | | in 1910 (see below). |
| The figure was invented by Gilbert as one of the saints for | | The figure was invented by Gilbert as one of the saints for |
| the niches of the grille for the tomb-chest supporting the | | the niches of the grille for the tomb-chest supporting the |
| effigy of the duke of clarence in the chapel of windsor Castle. | | effigy of the duke of clarence in the chapel of windsor Castle. |
| The duke, who was the first son of the prince of wales, died | | The duke, who was the first son of the prince of wales, died |
| on 14 January 1892; the commission was given to Gilbert at | | on 14 January 1892; the commission was given to Gilbert at |
| Sandringham by the prince on 23-5 January and the first | | Sandringham by the prince on 23-5 January and the first |
| model approved by him in Ijondon before the end of the | | model approved by him in Ijondon before the end of the |
| month. The larger model which was completed for the Royal | | month. The larger model which was completed for the Royal |
| Academy exhibition in 1894 was far more elaborate and | | Academy exhibition in 1894 was far more elaborate and |
| included the grille which Gilbert seems to have scttlcd on | | included the grille which Gilbert seems to have scttlcd on |
| early in 1893. Work on the tomb contributed to Gilbcrt's | | early in 1893. Work on the tomb contributed to Gilbcrt's |
| banluniptcy; his expedients to avoid this, together with his | | banluniptcy; his expedients to avoid this, together with his |
| procrastination and obsessive elaboration on the tomb, led to | | procrastination and obsessive elaboration on the tomb, led to |
| a break with his royal patron and he did not return from exile | | a break with his royal patron and he did not return from exile |
| in Brugcs to complete the work until bidden to do so by | | in Brugcs to complete the work until bidden to do so by |
| George V in 1926-the final figures wcrc in place in 1928. | | George V in 1926-the final figures wcrc in place in 1928. |
| The first figure of Sf Gco#gc was cast by George Broad and | | The first figure of Sf Gco#gc was cast by George Broad and |
| Son in `white metal': the hands and head were of ivory, as | | Son in `white metal': the hands and head were of ivory, as |
| was also the case with the effigy of the prince himself. The Sf | | was also the case with the effigy of the prince himself. The Sf |
| GGo7igc was dclivercd to the prince and princess of wales at | | GGo7igc was dclivercd to the prince and princess of wales at |
| Sandringham on 10 November 1895 as a private domestic | | Sandringham on 10 November 1895 as a private domestic |
| memorial to their son (it is now in St Mary Magdalene, | | memorial to their son (it is now in St Mary Magdalene, |
| Sandringham). This reveals that Gilbert, from the first, | | Sandringham). This reveals that Gilbert, from the first, |
| considered the figure acceptable as an independent sculpture, | | considered the figure acceptable as an independent sculpture, |
| although the wide spreading base, in which the scaly skin and | | although the wide spreading base, in which the scaly skin and |
| coils and claws of the dragon are involved, was devised for | | coils and claws of the dragon are involved, was devised for |
| the special setting of the grille where the wings and draperies | | the special setting of the grille where the wings and draperies |
| of attendant angels below and the crowning framework above | | of attendant angels below and the crowning framework above |
| continue its swirling foms. (The very earliest idea for the Sf | | continue its swirling foms. (The very earliest idea for the Sf |
| Geokge, rcpresentcd by a drawing in body colours and gold | | Geokge, rcpresentcd by a drawing in body colours and gold |
| leaf, does not have such a base.) The version for the tomb | | leaf, does not have such a base.) The version for the tomb |
| grille itself, also with ivory hands and head, the rest cast in | | grille itself, also with ivory hands and head, the rest cast in |
| aluminium, was set in place in Windsor in March 1898 (R. | | aluminium, was set in place in Windsor in March 1898 (R. |
| Dorrne". Alf red Gilbert: Sculpror and Goldsmith (Riayal | | Dorrne". Alf red Gilbert: Sculpror and Goldsmith (Riayal |
| Academy, Ijondon, 1986),154nd2). | | Academy, Ijondon, 1986),154nd2). |
| An interest in fancifully armoured figures, as also in | | An interest in fancifully armoured figures, as also in |
| voluminous draped figures, and in figures concealed by, and | | voluminous draped figures, and in figures concealed by, and |
| confused with, vegetation, which replaced Gilbert's early use | | confused with, vegetation, which replaced Gilbert's early use |
| of the nude, may all be traced to his work on the Fawcett | | of the nude, may all be traced to his work on the Fawcett |
| memorial in Wcstminstcr Abbey, commissioned in April 1885 | | memorial in Wcstminstcr Abbey, commissioned in April 1885 |
| and unveiled in January 1887 (ibid.124-5). The figure of a | | and unveiled in January 1887 (ibid.124-5). The figure of a |
| 84 | | 84 |
| knight representing Fortitude there was followed by the St. | | knight representing Fortitude there was followed by the St. |
| George on the Jubilcc Epergne, commissioned in 1887, | | George on the Jubilcc Epergne, commissioned in 1887, |
| completed in 1890, and by the knight in armour on the de | | completed in 1890, and by the knight in armour on the de |
| Vesci seal, commissioned January 1891 and completed 1896 | | Vesci seal, commissioned January 1891 and completed 1896 |
| (ibid., nos. 53 and 59, pp.144-5, 148-9). Whereas Ghbert | | (ibid., nos. 53 and 59, pp.144-5, 148-9). Whereas Ghbert |
| had been fascinated by lost-wax casting he seems also to have | | had been fascinated by lost-wax casting he seems also to have |
| been interested in the way that sand-casts of numerous picccs | | been interested in the way that sand-casts of numerous picccs |
| might be considered especiauy appropriate for a | | might be considered especiauy appropriate for a |
| representation of a suit of armour which after all was itself a | | representation of a suit of armour which after all was itself a |
| composite and jointed metal creation. The cast set up at | | composite and jointed metal creation. The cast set up at |
| Windsor in 1898 was probably made by the Compagrie des | | Windsor in 1898 was probably made by the Compagrie des |
| Bronzcs in Brussels. They were certainly responsible for two | | Bronzcs in Brussels. They were certainly responsible for two |
| casts, with metal, rather than ivory, heads and hands, which | | casts, with metal, rather than ivory, heads and hands, which |
| Gilbert had made less than twelve months afterwards-nc | | Gilbert had made less than twelve months afterwards-nc |
| of these (of aluminium, today in the Cecfl Higgivs Art Gallery, | | of these (of aluminium, today in the Cecfl Higgivs Art Gallery, |
| Bedford) was sent to Sir William Agnew on 8 February 1899, | | Bedford) was sent to Sir William Agnew on 8 February 1899, |
| the other (of bronze, today in a private collection) was ready | | the other (of bronze, today in a private collection) was ready |
| soon afterwards and sold to Robert Dunthome (ibid. 163- | | soon afterwards and sold to Robert Dunthome (ibid. 163- |
| 4, mos. 71, 72). The casting patterns used by the foundry to | | 4, mos. 71, 72). The casting patterns used by the foundry to |
| fom the sand moulds survive (ibid. 161, no. 68). How many | | fom the sand moulds survive (ibid. 161, no. 68). How many |
| subsequent versions in bronze were made is not certain but | | subsequent versions in bronze were made is not certain but |
| at least four seem to be recorded. | | at least four seem to be recorded. |
| Brocklebank called on Gilbert in Bruges on 9 December | | Brocklebank called on Gilbert in Bruges on 9 December |
| 1909 but the sculptor was ill and unable to scc him. | | 1909 but the sculptor was ill and unable to scc him. |
| Brocklebank (together with his brother and sister-in-law who | | Brocklebank (together with his brother and sister-in-law who |
| wcrc with hin) invited Gilbert to supper on 11 December | | wcrc with hin) invited Gilbert to supper on 11 December |
| and then again on 2 January 1910. In a letter to Brocklebank | | and then again on 2 January 1910. In a letter to Brocklebank |
| (by then at Fcify House, Warminster) on 16 January 1910 | | (by then at Fcify House, Warminster) on 16 January 1910 |
| Gilbert wrote that `sincc your visit I have put in hand the | | Gilbert wrote that `sincc your visit I have put in hand the |
| execution of the statucttc of st. George which you were good | | execution of the statucttc of st. George which you were good |
| enough to commission, and I hope to be able to dclivcry it | | enough to commission, and I hope to be able to dclivcry it |
| to you very shortly'. A new paragraph opened defensively: | | to you very shortly'. A new paragraph opened defensively: |
| You appeared to think that the price I name,-£100-was | | You appeared to think that the price I name,-£100-was |
| excessive.-May I point out, that although it is in the main, a | | excessive.-May I point out, that although it is in the main, a |
| reproduction, it is really, other, for all the accessories, such as the | | reproduction, it is really, other, for all the accessories, such as the |
| sword, the base, ctcetera, demand special work, seeing that I have | | sword, the base, ctcetera, demand special work, seeing that I have |
| no models of these details, and must therefore remake them. Your | | no models of these details, and must therefore remake them. Your |
| version then will be unique, though in general features it will | | version then will be unique, though in general features it will |
| resemble the original. As to the St. Hubert with the Stag [a figure | | resemble the original. As to the St. Hubert with the Stag [a figure |
| also planned for the tomb of the duke of Clarence] I should be glad | | also planned for the tomb of the duke of Clarence] I should be glad |
| of your decision. Its reproduction will bc formed by the same | | of your decision. Its reproduction will bc formed by the same |
| considerations,-both figures will be signed by me, with a special | | considerations,-both figures will be signed by me, with a special |
| mark. | | mark. |
| This letter was certainly disingenuous. Comparison with the | | This letter was certainly disingenuous. Comparison with the |
| casts of 1899 and the existence of the casting patterns makes | | casts of 1899 and the existence of the casting patterns makes |
| it clear that the extent of special work was exaggerated, and | | it clear that the extent of special work was exaggerated, and |
| in the event it was only the sword which was specially | | in the event it was only the sword which was specially |
| modelled for Brocklebank's version. | | modelled for Brocklebank's version. |
| Gilbert's next letter to Brocklebank, addressed to Hinside, | | Gilbert's next letter to Brocklebank, addressed to Hinside, |
| Warminster, was dated 20 January 1910. `Sincc you arc good | | Warminster, was dated 20 January 1910. `Sincc you arc good |
| enough to say that you arc likely to consider the purchase of | | enough to say that you arc likely to consider the purchase of |
| another figure, if the first satisfies you, I accept your terms | | another figure, if the first satisfies you, I accept your terms |
| for the "St. George", though its sale at the price you offer | | for the "St. George", though its sale at the price you offer |
| [prcsumably something like £80] would but barely | | [prcsumably something like £80] would but barely |
| remuncratc me for all the extra work its preparation entails to | | remuncratc me for all the extra work its preparation entails to |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| 85 | | 85 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| make it unlike in detail its prcdeccssors, to say nothing of the | | make it unlike in detail its prcdeccssors, to say nothing of the |
| actual cost of production, were I to give it you down. I feel | | actual cost of production, were I to give it you down. I feel |
| quite confident of giving you satisfaction however through | | quite confident of giving you satisfaction however through |
| the St. George.-As to the ``St. Hubert" or the "Virgin" | | the St. George.-As to the ``St. Hubert" or the "Virgin" |
| which you have mistaken for St. Clara, I could not possibly | | which you have mistaken for St. Clara, I could not possibly |
| give you for the same sum, for the double reason, lst I am | | give you for the same sum, for the double reason, lst I am |
| not free at present to reproduce them, and 2dly were I so, | | not free at present to reproduce them, and 2dly were I so, |
| they each of them cost me more to produce [than the sum in | | they each of them cost me more to produce [than the sum in |
| question]. I can however let you have a "Victory"-not the | | question]. I can however let you have a "Victory"-not the |
| small one you saw here but the original size, simultaneously | | small one you saw here but the original size, simultaneously |
| with the "St. George".' His next letter of 30 January concerns | | with the "St. George".' His next letter of 30 January concerns |
| the V¢.cfory (scc No. 502), but includes the following: `1 shall | | the V¢.cfory (scc No. 502), but includes the following: `1 shall |
| bc very delighted to make for you a companion figure to St. | | bc very delighted to make for you a companion figure to St. |
| George, and if you win give me a subject I will endeavour to | | George, and if you win give me a subject I will endeavour to |
| give it form . . . as to the new figure, if it is to remain | | give it form . . . as to the new figure, if it is to remain |
| absolutely a unique production I must ask you £200 or fl50 | | absolutely a unique production I must ask you £200 or fl50 |
| if you give mc the right to make one copy.' On 28 June 1910 | | if you give mc the right to make one copy.' On 28 June 1910 |
| Gilbert wrote from Faulkner's Hotel, Vflhers Street, I.ondon, | | Gilbert wrote from Faulkner's Hotel, Vflhers Street, I.ondon, |
| where he had been attending to some `troublesome business'. | | where he had been attending to some `troublesome business'. |
| He was grateful to Brocklebank for his `exceedingly kind | | He was grateful to Brocklebank for his `exceedingly kind |
| letters' and proposed to send off the `most beautiful cast of | | letters' and proposed to send off the `most beautiful cast of |
| the St. George' next wcck on his return to Brugcs. It seems | | the St. George' next wcck on his return to Brugcs. It seems |
| that another warrior saint designed for the tomb of the duke | | that another warrior saint designed for the tomb of the duke |
| of Clarence had been proposed as a companion by | | of Clarence had been proposed as a companion by |
| Brocklebank-the Sf A4:¢.choc/ (cast for Windsor in 1899)- | | Brocklebank-the Sf A4:¢.choc/ (cast for Windsor in 1899)- |
| but, Gilbert protested, `1 cannot repeat "St Michael" for I | | but, Gilbert protested, `1 cannot repeat "St Michael" for I |
| have no model existent, but I should be only too delighted | | have no model existent, but I should be only too delighted |
| to make you a new figure of the same subject, and I should | | to make you a new figure of the same subject, and I should |
| prefer it to be #„¢.g#c'. Gilbert had in fact made a repetition | | prefer it to be #„¢.g#c'. Gilbert had in fact made a repetition |
| of the Sf A4¢.c¢fl}c/ in 1900 for William Vivian as a companion | | of the Sf A4¢.c¢fl}c/ in 1900 for William Vivian as a companion |
| for the bronze S£ GGo7igG which Gilbert had sold in 1899 to | | for the bronze S£ GGo7igG which Gilbert had sold in 1899 to |
| Dunthornc (Dorment, op. cit., no. 73, p.165) but the model | | Dunthornc (Dorment, op. cit., no. 73, p.165) but the model |
| may well have been destroyed in the late summer of 1901 | | may well have been destroyed in the late summer of 1901 |
| when the sculptor went bankrupt and, he claimed, smashed | | when the sculptor went bankrupt and, he claimed, smashed |
| his models to save them from the bailiffs. | | his models to save them from the bailiffs. |
| The succeeding letters must have maddened Brocklcbank. | | The succeeding letters must have maddened Brocklcbank. |
| On 22 July Gilbert conceded that more than thrcc weeks had | | On 22 July Gilbert conceded that more than thrcc weeks had |
| passed and hc had not sent the S£ Gco7i2i7e but he found that | | passed and hc had not sent the S£ Gco7i2i7e but he found that |
| it still needed work, although the casting was good. On 28 | | it still needed work, although the casting was good. On 28 |
| July hc found that he needed `an extra day or two to revise | | July hc found that he needed `an extra day or two to revise |
| some of the detail'. On 19 Septcmbcr he announced that he | | some of the detail'. On 19 Septcmbcr he announced that he |
| was `not satisfied with the casting', had had to work much | | was `not satisfied with the casting', had had to work much |
| upon it-`Another cause of delay is, that I have altered the | | upon it-`Another cause of delay is, that I have altered the |
| sword, and substituted for it an object of quite a new | | sword, and substituted for it an object of quite a new |
| treatment. To wit, a sword in emblem rather than a weapon | | treatment. To wit, a sword in emblem rather than a weapon |
| in fact.' On I December he is nearly ready to send the cast: | | in fact.' On I December he is nearly ready to send the cast: |
| `The delay has been no fault of mine. I have been waiting for | | `The delay has been no fault of mine. I have been waiting for |
| two months past, the casting of the final dctal [thc cross].- | | two months past, the casting of the final dctal [thc cross].- |
| It has arrived tonight. Tomorrow, I sham fit it in its place, and | | It has arrived tonight. Tomorrow, I sham fit it in its place, and |
| pack and send off to you the figure.' On 9 December he | | pack and send off to you the figure.' On 9 December he |
| cxplaincd that mness had kept him from personal | | cxplaincd that mness had kept him from personal |
| supcrintendancc of the packing but it will leave here `on | | supcrintendancc of the packing but it will leave here `on |
| Monday night'. Gilbert realzed that this was the moment | | Monday night'. Gilbert realzed that this was the moment |
| for some flattery and pathos. | | for some flattery and pathos. |
| I have substituted, for the oriSnal sword, a Processional Cross, | | I have substituted, for the oriSnal sword, a Processional Cross, |
| which I like better myself, as being richer, and to my thinking, more | | which I like better myself, as being richer, and to my thinking, more |
| suitable.-I must leave you to judge of this for yourself. I can only | | suitable.-I must leave you to judge of this for yourself. I can only |
| add, that what I have done has been prompted by a desire to do | | add, that what I have done has been prompted by a desire to do |
| 86 | | 86 |
| my best, and I hope you will realizc that the onginal price I asked | | my best, and I hope you will realizc that the onginal price I asked |
| you, was not excessive, in view of the result, which I assure you, | | you, was not excessive, in view of the result, which I assure you, |
| has cost me as much personal work, as a new creation would have | | has cost me as much personal work, as a new creation would have |
| done. I never send anything out of my work shop, that has not had | | done. I never send anything out of my work shop, that has not had |
| my personal attention and care. It is perhaps for that reason that I | | my personal attention and care. It is perhaps for that reason that I |
| live as I do, in solitude, and from hand to mouth. But let all that | | live as I do, in solitude, and from hand to mouth. But let all that |
| pass.~I was very grateful to you for coming to me at all, at a | | pass.~I was very grateful to you for coming to me at all, at a |
| moment when I thought nobody cared for me more, and I have | | moment when I thought nobody cared for me more, and I have |
| endeavoured to prove my sentiment, through the work I am sending | | endeavoured to prove my sentiment, through the work I am sending |
| you. | | you. |
| On 14 Dcccmbcr Gilbert was able to write that | | On 14 Dcccmbcr Gilbert was able to write that |
| `St. George' left here last night, and I consigned it myself to the | | `St. George' left here last night, and I consigned it myself to the |
| Railway agents. I could not do so on Monday because I was obliged | | Railway agents. I could not do so on Monday because I was obliged |
| to keep my bed, owing to a slight attack of Bronchitis.-I was | | to keep my bed, owing to a slight attack of Bronchitis.-I was |
| unable to prepay the carriage because I could get no through rate | | unable to prepay the carriage because I could get no through rate |
| to Warminster. The cast went straight to you by `Grande Vitesse' | | to Warminster. The cast went straight to you by `Grande Vitesse' |
| thoroughly well packed and covered with every direction requisite | | thoroughly well packed and covered with every direction requisite |
| . . . I did not insure, for I have always found such a proceeding | | . . . I did not insure, for I have always found such a proceeding |
| useless . . . I have not 6tamped the bronze with my `tradc mark'! | | useless . . . I have not 6tamped the bronze with my `tradc mark'! |
| for I could not find a single spot on the whole work, where such a | | for I could not find a single spot on the whole work, where such a |
| Superimposition, would not have interfered with the work.-I think | | Superimposition, would not have interfered with the work.-I think |
| the best plan would be for me to give you a signed label which you | | the best plan would be for me to give you a signed label which you |
| can affix under the plinth. I enclose such a document. | | can affix under the plinth. I enclose such a document. |
| The document in question survives. Unfortunately owing to | | The document in question survives. Unfortunately owing to |
| rough handling by the customs the bronze was broken-presumably | | rough handling by the customs the bronze was broken-presumably |
| in the processional cross. On 19 December Gilbert | | in the processional cross. On 19 December Gilbert |
| expressed his determination to mend this in the spring. Hc | | expressed his determination to mend this in the spring. Hc |
| received a banker's draft on New Year's Day 1911. On 29 | | received a banker's draft on New Year's Day 1911. On 29 |
| June 1911 he explained that his visit to England has been | | June 1911 he explained that his visit to England has been |
| delayed but he would `ccrtainly' come in the autumn. On 5 | | delayed but he would `ccrtainly' come in the autumn. On 5 |
| September hc wrote that hc had to renounce for the present | | September hc wrote that hc had to renounce for the present |
| his intended visit. Brocklcbank no doubt got someone else to | | his intended visit. Brocklcbank no doubt got someone else to |
| fix the processional cross (No. 507) but not very securely for | | fix the processional cross (No. 507) but not very securely for |
| it has long been detached. I.ooking at it with the Sf GGo7gigG it | | it has long been detached. I.ooking at it with the Sf GGo7gigG it |
| seems incredible that they were ever attached: not only is the | | seems incredible that they were ever attached: not only is the |
| cross compositionally ungainly but it is a lost-wax cast which | | cross compositionally ungainly but it is a lost-wax cast which |
| exposes the dry and mechanical sand-cast finish of the Sf | | exposes the dry and mechanical sand-cast finish of the Sf |
| George. | | George. |
| Foundry of the Compagnie des Bronzes, Brussels | | Foundry of the Compagnie des Bronzes, Brussels |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 507. Crucifix surrounded by | | 507. Crucifix surrounded by |
| chembim | | chembim |
| 13.5 cms. (height); 9.5 cms. (width) | | 13.5 cms. (height); 9.5 cms. (width) |
| Bronze with a dark chestnut patina worn to a pale tan in the more | | Bronze with a dark chestnut patina worn to a pale tan in the more |
| salient parts. I.ost-wax cast, hollowed behind. There is no evidence | | salient parts. I.ost-wax cast, hollowed behind. There is no evidence |
| of chiselling of any kind. | | of chiselling of any kind. |
| For provenance see No. 506 to which this was attached. | | For provenance see No. 506 to which this was attached. |
| Gilbert claimed that this bronze was invented as a processional | | Gilbert claimed that this bronze was invented as a processional |
| cross for S£ GGo#gG to carry, in lieu of the sword with a crucifix | | cross for S£ GGo#gG to carry, in lieu of the sword with a crucifix |
| on the hilt which he had earlier employed. It may, however, | | on the hilt which he had earlier employed. It may, however, |
| have originated as an independent work, perhaps intended | | have originated as an independent work, perhaps intended |
| for execution in silver. It certainly resembles another | | for execution in silver. It certainly resembles another |
| ostentatiously waxy sketch involving the indistinct cherubim | | ostentatiously waxy sketch involving the indistinct cherubim |
| and angels whose wings enveloped the dead or dying Christ | | and angels whose wings enveloped the dead or dying Christ |
| like petals; this is the bronze C47?.j7 J#4Po7?Gd ky ¢»g£/J, | | like petals; this is the bronze C47?.j7 J#4Po7?Gd ky ¢»g£/J, |
| 12cms.high,inaprivatecollectioninNewYork(RDorment, | | 12cms.high,inaprivatecollectioninNewYork(RDorment, |
| qurefiGi[`b:r:,`Sculpt!r_?ndGoldsmith(Ttoryalircdsny, | | qurefiGi[`b:r:,`Sculpt!r_?ndGoldsmith(Ttoryalircdsny, |
| I.ondon,1986), no. loo, p.185) which is closely related to | | I.ondon,1986), no. loo, p.185) which is closely related to |
| a plaster cast published in the E¢Jfgy A# 14###¢/ ( 1903: 18) | | a plaster cast published in the E¢Jfgy A# 14###¢/ ( 1903: 18) |
| and may bc identical with a `headpiece of a dead Christ | | and may bc identical with a `headpiece of a dead Christ |
| supported by Angels . . . nearly complete in mctal' which | | supported by Angels . . . nearly complete in mctal' which |
| Henry Ganz saw in Gilbert's Bruges studio in September | | Henry Ganz saw in Gilbert's Bruges studio in September |
| 1907. | | 1907. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Foundry of Compagnie des Bronzcs, Brussels | | Foundry of Compagnie des Bronzcs, Brussels |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 508, 509, and 510. Truth (or | | 508, 509, and 510. Truth (or |
| Hope), Piety (or Faith), and Charity | | Hope), Piety (or Faith), and Charity |
| 37.5 cms. (height of Tr#£¢); 37 cms. (height of PG.Gay); 36 cms. | | 37.5 cms. (height of Tr#£¢); 37 cms. (height of PG.Gay); 36 cms. |
| (height of Chor¢.ty); 8.6 cms. (diameter of integral bronze base | | (height of Chor¢.ty); 8.6 cms. (diameter of integral bronze base |
| of r7'i#£4); 8.5 cms. (diameter of integral bronze base of P¢.rty); | | of r7'i#£4); 8.5 cms. (diameter of integral bronze base of P¢.rty); |
| 8.7 cms. (diameter of integral bronze base of C4¢rG.ty) | | 8.7 cms. (diameter of integral bronze base of C4¢rG.ty) |
| Bronze with a slightly brown green patina. Each figure is a hollow | | Bronze with a slightly brown green patina. Each figure is a hollow |
| sand-cast of one piece with a prominent fin of `flashing' in the | | sand-cast of one piece with a prominent fin of `flashing' in the |
| interior about half-way up. The plinths are integral, each is | | interior about half-way up. The plinths are integral, each is |
| approximately circular in plan but cut off at the back. Originally | | approximately circular in plan but cut off at the back. Originally |
| mounted on wooden plinths ( untraced). | | mounted on wooden plinths ( untraced). |
| Bequeathed by the Revd J. W. R Brocklebank in 1927. Probably | | Bequeathed by the Revd J. W. R Brocklebank in 1927. Probably |
| acqulrcd by him after 1913, since they are not mentioned in Gilbert's | | acqulrcd by him after 1913, since they are not mentioned in Gilbert's |
| letters to Brocklebank between 1910 and 1913. Nos. 23-5 on | | letters to Brocklebank between 1910 and 1913. Nos. 23-5 on |
| Andrew Shirley's receipt of January 1927 as `A set of 3 female | | Andrew Shirley's receipt of January 1927 as `A set of 3 female |
| figures symbolising Faith, Hope and Charity 18" high on wood | | figures symbolising Faith, Hope and Charity 18" high on wood |
| plinths'. | | plinths'. |
| Gilbert received a commission for a memorial to the Rt. Hon. | | Gilbert received a commission for a memorial to the Rt. Hon. |
| I.ord Arthur Russell ( 1825-92) to be erected in the mortuary | | I.ord Arthur Russell ( 1825-92) to be erected in the mortuary |
| chapel of the Bedford family in St Michacl's, Chcnies, | | chapel of the Bedford family in St Michacl's, Chcnies, |
| Buckinghamshire, in 1892. He completed the work in 1900. | | Buckinghamshire, in 1892. He completed the work in 1900. |
| The memorial takes the form of an elaborate candlestick about | | The memorial takes the form of an elaborate candlestick about |
| 9 feet high, with four allegorical figures T7"£b, P¢.rty, C¢¢r¢.ty, | | 9 feet high, with four allegorical figures T7"£b, P¢.rty, C¢¢r¢.ty, |
| and Co#r¢gG set about half-way up, above complex organic | | and Co#r¢gG set about half-way up, above complex organic |
| ornament incorporating enamelled panels. Gilbert quarclled | | ornament incorporating enamelled panels. Gilbert quarclled |
| with Alessandro Parlanti, the finest founder in I.ondon in | | with Alessandro Parlanti, the finest founder in I.ondon in |
| these years, in November 1899 after he had delivered the | | these years, in November 1899 after he had delivered the |
| C4¢rify, together with a duplicate cast, and the Co#r¢gG (R | | C4¢rify, together with a duplicate cast, and the Co#r¢gG (R |
| Dorment, A//rcd G¢./4c77 (New Haven, Conn., and Ijondon, | | Dorment, A//rcd G¢./4c77 (New Haven, Conn., and Ijondon, |
| 1985), 193-7). The fact that a duplicate was cast of Cb¢rity | | 1985), 193-7). The fact that a duplicate was cast of Cb¢rity |
| reveals that Gilbert did not think of the figures as exclusively | | reveals that Gilbert did not think of the figures as exclusively |
| appropriate to the setting in Chenies; but there was no | | appropriate to the setting in Chenies; but there was no |
| thought of an edition of any of the figures (which in any case | | thought of an edition of any of the figures (which in any case |
| would not have been popular with the Bcdford finily) until | | would not have been popular with the Bcdford finily) until |
| the sole right to reproduce casts of three of the allegorical | | the sole right to reproduce casts of three of the allegorical |
| figures (the three here-Co#r¢gG has a distinct character, as | | figures (the three here-Co#r¢gG has a distinct character, as |
| Dormcnt points out, and may well have been origivally | | Dormcnt points out, and may well have been origivally |
| conceived for a different purpose) was granted to the | | conceived for a different purpose) was granted to the |
| Compagnie des Bronzes who sold them through the Fine | | Compagnie des Bronzes who sold them through the Fine |
| Art Society in Bond Street. How many were cast at this stage | | Art Society in Bond Street. How many were cast at this stage |
| is not known but the bronzes are not very common. One set | | is not known but the bronzes are not very common. One set |
| is in the City Art Gallery and Museum, Birmingham (P36- | | is in the City Art Gallery and Museum, Birmingham (P36- |
| 38.'64). Another set was lot 83 at Phillips, Ijondon, on 14 | | 38.'64). Another set was lot 83 at Phillips, Ijondon, on 14 |
| April 1987 (illustrated in colour in the catalogue). They | | April 1987 (illustrated in colour in the catalogue). They |
| retained their wooden bases upon which the figures were | | retained their wooden bases upon which the figures were |
| identified as Hopc, F¢;£4, and Char;ty although we know that | | identified as Hopc, F¢;£4, and Char;ty although we know that |
| different identities were intcndcd for the oriSnal memorial. | | different identities were intcndcd for the oriSnal memorial. |
| Another cast of the C4#rG.ty was lot 58 at Sotheby's, I.ondon, | | Another cast of the C4#rG.ty was lot 58 at Sotheby's, I.ondon, |
| on 26 November 1986 but was incised across the back of the | | on 26 November 1986 but was incised across the back of the |
| integral bronze base `Cast from Plaster/Alfred Gilbert'. | | integral bronze base `Cast from Plaster/Alfred Gilbert'. |
| The C4¢7dy from the Ashmolean's set when lent in 1986 | | The C4¢7dy from the Ashmolean's set when lent in 1986 |
| to the Royal Academy exhibition A//red GS./de7?.. Sc"/pfor ¢„d | | to the Royal Academy exhibition A//red GS./de7?.. Sc"/pfor ¢„d |
| Go/drow¢.£¢ could be compared with the duplicate of the | | Go/drow¢.£¢ could be compared with the duplicate of the |
| 88 | | 88 |
| Chenics C¢¢77.ty formerly in the collection of Alfred Drury | | Chenics C¢¢77.ty formerly in the collection of Alfred Drury |
| and now in the Victoria and Albert Museum (in store, A.2l- | | and now in the Victoria and Albert Museum (in store, A.2l- |
| 1971 ) and the superiority of the latter version was very clear. | | 1971 ) and the superiority of the latter version was very clear. |
| Gilbert had thought of giving the figures ivory hands and | | Gilbert had thought of giving the figures ivory hands and |
| faces (Dorment, op. cit.) but instead polychromc ambitions | | faces (Dorment, op. cit.) but instead polychromc ambitions |
| were transferred to the bronze itself, and in the origival and | | were transferred to the bronze itself, and in the origival and |
| the duplicate the flesh was patinated red by Parlanti to contrast | | the duplicate the flesh was patinated red by Parlanti to contrast |
| with the golden brown draperies. The granular surface as well | | with the golden brown draperies. The granular surface as well |
| as the colour of the Ashmolcan sand-cast is dull when | | as the colour of the Ashmolcan sand-cast is dull when |
| compared with that of Parlanti's lost-wax cast. The | | compared with that of Parlanti's lost-wax cast. The |
| Ashmolean's figure is far less finely modelled-there is much | | Ashmolean's figure is far less finely modelled-there is much |
| less detail in the right sleeve, the fingers of her right hand | | less detail in the right sleeve, the fingers of her right hand |
| have now vanished, she has no left hand at all, and thcrc is | | have now vanished, she has no left hand at all, and thcrc is |
| no expression on the children's faces. Similar differences can | | no expression on the children's faces. Similar differences can |
| bc discerned by comparing photographs of the other two | | bc discerned by comparing photographs of the other two |
| allegories with the bronzes in place at Chenies. The | | allegories with the bronzes in place at Chenies. The |
| explanation must bc that Gilbert cithcr had plaster casts of | | explanation must bc that Gilbert cithcr had plaster casts of |
| the sketch models or more probably had rough plasters of the | | the sketch models or more probably had rough plasters of the |
| completed bronzes which he rcworkcd (using a hard workable | | completed bronzes which he rcworkcd (using a hard workable |
| plaster) to make them more suitable for sand-casting and | | plaster) to make them more suitable for sand-casting and |
| perhaps broader in feeling, endeavouring to correct his own | | perhaps broader in feeling, endeavouring to correct his own |
| fatal pursuit of the over-elaborate. | | fatal pursuit of the over-elaborate. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| 89 | | 89 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry of the Compagnie des Bronzcs, Brussels | | Foundry of the Compagnie des Bronzcs, Brussels |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 511. St Catherine (The Miraculous | | 511. St Catherine (The Miraculous |
| Wedding) | | Wedding) |
| 49.5 cms. (height, including integral bronze base) | | 49.5 cms. (height, including integral bronze base) |
| Bronze with a very dark brown patina worn in some salient areas to | | Bronze with a very dark brown patina worn in some salient areas to |
| a chocolate brown. Hollow, sand-cast. The base was cast separately | | a chocolate brown. Hollow, sand-cast. The base was cast separately |
| and the figure bolted to it. | | and the figure bolted to it. |
| Bequeathed by the Rcvd J. W. R Brocklebank in November 1926. | | Bequeathed by the Rcvd J. W. R Brocklebank in November 1926. |
| Probably acquired by him after the summer of 1913 because not | | Probably acquired by him after the summer of 1913 because not |
| mentioned by Gilbert in his letters to Brocklcbank between 1910 | | mentioned by Gilbert in his letters to Brocklcbank between 1910 |
| and 1913. No.15 in Andrew Shirley's rcccipt of January 1927 as | | and 1913. No.15 in Andrew Shirley's rcccipt of January 1927 as |
| `The Vlrgin and Child Standing 20" high'. | | `The Vlrgin and Child Standing 20" high'. |
| Gilbert eventually included among the extraordinary saints in | | Gilbert eventually included among the extraordinary saints in |
| the grille of his tomb of the duke of Clarencc in the chapel | | the grille of his tomb of the duke of Clarencc in the chapel |
| at Windsor Castle two St Cathcrincs-Catherine of Sicna and | | at Windsor Castle two St Cathcrincs-Catherine of Sicna and |
| Catherine of Egypt-and, although these were only | | Catherine of Egypt-and, although these were only |
| completed after his return from `exile' in Bruges in 1926, hc | | completed after his return from `exile' in Bruges in 1926, hc |
| must have been working on the thcmc at the time of his | | must have been working on the thcmc at the time of his |
| bankruptcy in 1901. Given the swirling forms of the broadly | | bankruptcy in 1901. Given the swirling forms of the broadly |
| spreading base for this figure it must, as Lavinia Handley- | | spreading base for this figure it must, as Lavinia Handley- |
| Read first pointed out, have been his project for a Sf C¢£ife7¢.#c | | Read first pointed out, have been his project for a Sf C¢£ife7¢.#c |
| in about 1898, which can also bc traced in a second modified | | in about 1898, which can also bc traced in a second modified |
| version probably dating from a few years later ( `Alfred Gilbert: | | version probably dating from a few years later ( `Alfred Gilbert: |
| A New Assessment, Part 3: The Later Statuettes', | | A New Assessment, Part 3: The Later Statuettes', |
| Co»"o¢.JJc„r,164 ( 1968),148-51 ). Dorment has ingeniously | | Co»"o¢.JJc„r,164 ( 1968),148-51 ). Dorment has ingeniously |
| proposed that 777c M¢.#¢c„/o#f Wcdd¢."g (as this group is | | proposed that 777c M¢.#¢c„/o#f Wcdd¢."g (as this group is |
| often caued) is `a fusion of the imagery of both St Cathcrinc | | often caued) is `a fusion of the imagery of both St Cathcrinc |
| of Egypt, represented as a heavily veiled eastern woman, and | | of Egypt, represented as a heavily veiled eastern woman, and |
| St Catherine of Siena, who mystically wed the Christ Child' | | St Catherine of Siena, who mystically wed the Christ Child' |
| (Alf red Gilbert: Sculpeor and Goldsmith (R!ayal Aucedc:rrry , | | (Alf red Gilbert: Sculpeor and Goldsmith (R!ayal Aucedc:rrry , |
| London, 1986), no. 98, pp.1834), but, whilst it is true that | | London, 1986), no. 98, pp.1834), but, whilst it is true that |
| Gilbert was capable of treating Christian imagery as if it were | | Gilbert was capable of treating Christian imagery as if it were |
| a private mythology to be embellished and varied as hc fancied, | | a private mythology to be embellished and varied as hc fancied, |
| this figure is surely intended simply as St Catherine of Egypt | | this figure is surely intended simply as St Catherine of Egypt |
| (or of Alexandria as she is more usually known), for she as | | (or of Alexandria as she is more usually known), for she as |
| well as Catherine of siena received from Christ a ring. The | | well as Catherine of siena received from Christ a ring. The |
| action depicted in the sculpture is that of Christ kissing the | | action depicted in the sculpture is that of Christ kissing the |
| hand which he has just honoured in this manner. Had the | | hand which he has just honoured in this manner. Had the |
| model been executed for Windsor it would no doubt have | | model been executed for Windsor it would no doubt have |
| been polychrome but Gilbert was prepared to have less | | been polychrome but Gilbert was prepared to have less |
| extravagant casts made. The first was cast by `O'Neill' and | | extravagant casts made. The first was cast by `O'Neill' and |
| sold to a Mrs Richardson in 1900 as we know from Gilbcrt's | | sold to a Mrs Richardson in 1900 as we know from Gilbcrt's |
| son's studio diary. This version is now in `a Parish Church in | | son's studio diary. This version is now in `a Parish Church in |
| Scotland' (no. 98 in the exhibition cited). There are other | | Scotland' (no. 98 in the exhibition cited). There are other |
| casts in the City Art Gallery and Museum, Birminghain | | casts in the City Art Gallery and Museum, Birminghain |
| (P38.'73) and in the collection of Mrs Noel Blakiston in | | (P38.'73) and in the collection of Mrs Noel Blakiston in |
| I.ondon (see Dorment's entry for no. 99, p.182, in VG.cforG.¢„ | | I.ondon (see Dorment's entry for no. 99, p.182, in VG.cforG.¢„ |
| H¢d¢ Rc#¢!.ff#„ce, an exhibition held 1978-9 at the City Art | | H¢d¢ Rc#¢!.ff#„ce, an exhibition held 1978-9 at the City Art |
| Gallery, Manchester, at Minneapolis, and Brooklyn). As | | Gallery, Manchester, at Minneapolis, and Brooklyn). As |
| Dorment observed (ibid. ) it is surely to this work that Gilbert | | Dorment observed (ibid. ) it is surely to this work that Gilbert |
| rcfcrs darkly in a letter to the press written in 1914 warning | | rcfcrs darkly in a letter to the press written in 1914 warning |
| of pirated casts-`a first sketch for a small group, one of a | | of pirated casts-`a first sketch for a small group, one of a |
| number of subjects of its size, destined for the tomb of the | | number of subjects of its size, destined for the tomb of the |
| 90 | | 90 |
| Duke of Clarencc, but abandoned for a better rendering | | Duke of Clarencc, but abandoned for a better rendering |
| upon which I am actually engaged at the present time'. It is | | upon which I am actually engaged at the present time'. It is |
| typically inconsistent that Gilbert had himself sold a cast of | | typically inconsistent that Gilbert had himself sold a cast of |
| the `abandoned' `skctch' in 1900. | | the `abandoned' `skctch' in 1900. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry of the Compagnie des Bronzcs, Brussels | | Foundry of the Compagnie des Bronzcs, Brussels |
| After Sir Alfred GILBERT ( 1854-1934) | | After Sir Alfred GILBERT ( 1854-1934) |
| n | | n | @@PROCESS |
| 512. St George conducted by | | 512. St George conducted by |
| Victory | | Victory |
| 56 cms. (height including integral bronze base); 26 cms. (diameter | | 56 cms. (height including integral bronze base); 26 cms. (diameter |
| of integral bronze base); 2.35 cms. (height of marble plinth); | | of integral bronze base); 2.35 cms. (height of marble plinth); |
| 26.8 cms. (diameter of marble plinth) | | 26.8 cms. (diameter of marble plinth) |
| Bronze with a dark brown to golden brown patina. The patina is | | Bronze with a dark brown to golden brown patina. The patina is |
| somewhat deteriorated; but it can be seen that the figure of victory | | somewhat deteriorated; but it can be seen that the figure of victory |
| was originally brighter in colour. Hollow, lost-wax, cast. The | | was originally brighter in colour. Hollow, lost-wax, cast. The |
| pennant, palm, and brittle trappings are separately fashioned in | | pennant, palm, and brittle trappings are separately fashioned in |
| copper. The integral bronze base terminates in mouldings of | | copper. The integral bronze base terminates in mouldings of |
| octagonal plan and fits upon (but is not bolted to) an octagonal | | octagonal plan and fits upon (but is not bolted to) an octagonal |
| plinth of dark grey fossil marble (English or Belgian). The group | | plinth of dark grey fossil marble (English or Belgian). The group |
| received conservation treatment in 1984 from David Armitage for | | received conservation treatment in 1984 from David Armitage for |
| a corroding interior caused by damp storage and by solder employed | | a corroding interior caused by damp storage and by solder employed |
| for a fixing bar. | | for a fixing bar. |
| Bequeathed by the Revd J. W. R. Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R. Brocklebank in November 1926. |
| Acquired by him after-probably soon after-27 May 1913. No. | | Acquired by him after-probably soon after-27 May 1913. No. |
| 27inAndrewShirley'sreceiptofJanuary1927as`Agroup,Boadicea | | 27inAndrewShirley'sreceiptofJanuary1927as`Agroup,Boadicea |
| on rockwork plinth 21 " high'. | | on rockwork plinth 21 " high'. |
| The idea for the group originated, according to Gilbert, in a | | The idea for the group originated, according to Gilbert, in a |
| dream of 15 May 1904. Gilbert thought that it might serve | | dream of 15 May 1904. Gilbert thought that it might serve |
| as an over-life-size Boer War memorial. He exhibited a plaster | | as an over-life-size Boer War memorial. He exhibited a plaster |
| sketch model of the equestrian Sf Gco#gG at the Royal | | sketch model of the equestrian Sf Gco#gG at the Royal |
| Academy in 1906 (no. 1773, `St George and the Dragon, | | Academy in 1906 (no. 1773, `St George and the Dragon, |
| Victory leading. Sketch model for a proposed War | | Victory leading. Sketch model for a proposed War |
| Memorial'). The figure of victory is derived from the figure | | Memorial'). The figure of victory is derived from the figure |
| origivally devised for the Quccn Victoria Memorial at | | origivally devised for the Quccn Victoria Memorial at |
| Winchester which at this period Gilbert was having cast as an | | Winchester which at this period Gilbert was having cast as an |
| independent statuette (see No. 502). On 22 July 1910 Gilbert | | independent statuette (see No. 502). On 22 July 1910 Gilbert |
| wrote to Brocklebank that he had `other versions of the same | | wrote to Brocklebank that he had `other versions of the same |
| theme [ V¢.c4ory] and I am only too glad of the opportunity | | theme [ V¢.c4ory] and I am only too glad of the opportunity |
| of providing new work instead of repeating old cfforts'. On | | of providing new work instead of repeating old cfforts'. On |
| 28 July hc was more explicit: | | 28 July hc was more explicit: |
| I should prefer to give you a new work. I have the model of a St | | I should prefer to give you a new work. I have the model of a St |
| George on horseback, being led by Victory. This work is very far | | George on horseback, being led by Victory. This work is very far |
| advanced, indeed it is in plaster and was exhibited a few years ago | | advanced, indeed it is in plaster and was exhibited a few years ago |
| at the Royal Academy. Personally I consider it by far my best | | at the Royal Academy. Personally I consider it by far my best |
| dccorativc effort. I have as I told you in my last letter, stin another | | dccorativc effort. I have as I told you in my last letter, stin another |
| version of the same theme. I am, as you will see fond of the subject. | | version of the same theme. I am, as you will see fond of the subject. |
| The subject comes up again on 25 Apul 1913 when Gilbert | | The subject comes up again on 25 Apul 1913 when Gilbert |
| wrote to Brocklcbank as fouows: | | wrote to Brocklcbank as fouows: |
| As regards the St. George led by Victory the model is intact, as you | | As regards the St. George led by Victory the model is intact, as you |
| saw it at the Royal Academy; the legs of the horse, ¢ffG #of m¢»f¢.»g. | | saw it at the Royal Academy; the legs of the horse, ¢ffG #of m¢»f¢.»g. |
| You see what fuse impressions photography badly done, sometimes | | You see what fuse impressions photography badly done, sometimes |
| give. The model is actually in London, stored with many other | | give. The model is actually in London, stored with many other |
| things belonging to me. I shall be pleased to give you the first refusal | | things belonging to me. I shall be pleased to give you the first refusal |
| of the work and this I win do later, when I can detcrminc a price. | | of the work and this I win do later, when I can detcrminc a price. |
| Imayadd,thatmypricedoesnot[illegrbleword-render?]necessary | | Imayadd,thatmypricedoesnot[illegrbleword-render?]necessary |
| a ready cash payment, I am sometimes, better plcascd to receive my | | a ready cash payment, I am sometimes, better plcascd to receive my |
| payments by installments. | | payments by installments. |
| The group is presumably one of three pieces (the others a Sf | | The group is presumably one of three pieces (the others a Sf |
| JIf¢.c4¢c/ and a C¢.rcG) mentioned as being prepared for | | JIf¢.c4¢c/ and a C¢.rcG) mentioned as being prepared for |
| Brocklebank in a letter of 27 May 1913. | | Brocklebank in a letter of 27 May 1913. |
| There is no subsequent surviving correspondence in the | | There is no subsequent surviving correspondence in the |
| Department's archive, but it would seem likely that the | | Department's archive, but it would seem likely that the |
| Ashmolean's group is one of the earliest, if not the earliest, | | Ashmolean's group is one of the earliest, if not the earliest, |
| of the casts made of this group. Any bronze made under | | of the casts made of this group. Any bronze made under |
| Gilbert's direction by that date was cast by the Compagnie | | Gilbert's direction by that date was cast by the Compagnie |
| dcs Bronzcs (he used the firm's stationery for many of his | | dcs Bronzcs (he used the firm's stationery for many of his |
| letters to Brocklebank) and they were making casts of the | | letters to Brocklebank) and they were making casts of the |
| group a decade later for the Fine Art Society-the version in | | group a decade later for the Fine Art Society-the version in |
| the Fitzwiuiam Museum, formerly in the Handley-Read | | the Fitzwiuiam Museum, formerly in the Handley-Read |
| Couection, can be dated to 1923. This latter version (which | | Couection, can be dated to 1923. This latter version (which |
| was no. 101 in the Royal Academy exhibition of 1986, 4//7cd | | was no. 101 in the Royal Academy exhibition of 1986, 4//7cd |
| Gjlper:: Sc_ulp.i?r .and Goldsmith) is .in saperto[ condiion, | | Gjlper:: Sc_ulp.i?r .and Goldsmith) is .in saperto[ condiion, |
| with the Gothic letters on the pennant for instance possible | | with the Gothic letters on the pennant for instance possible |
| to decipher as `Alfred Gilber[' and distinguished in gold. The | | to decipher as `Alfred Gilber[' and distinguished in gold. The |
| pennant is missing from an otherwise very fine cast in the Ijos | | pennant is missing from an otherwise very fine cast in the Ijos |
| Angcles County Museum of Art (M. 87.119.17). | | Angcles County Museum of Art (M. 87.119.17). |
| The problem that the letters to Brocklebank leave unclean | | The problem that the letters to Brocklebank leave unclean |
| is whcthcr Gilbert intended to make the group something | | is whcthcr Gilbert intended to make the group something |
| less like a sketch. As it is, the base represents a weird and | | less like a sketch. As it is, the base represents a weird and |
| unresolved combination of the naturalistic symbolism found | | unresolved combination of the naturalistic symbolism found |
| in the base of the Jc¢pr#f (No. 500) and the swirling symbolic | | in the base of the Jc¢pr#f (No. 500) and the swirling symbolic |
| ornament about which hc had since become so obsessed. | | ornament about which hc had since become so obsessed. |
| Most viewers, however, fun to pcrccive the form of the dead | | Most viewers, however, fun to pcrccive the form of the dead |
| dragon draped over the battlements of a toy city, so | | dragon draped over the battlements of a toy city, so |
| completely do both seem to decompose into the mud upon | | completely do both seem to decompose into the mud upon |
| which the dainty knight (understandably mistaken for a | | which the dainty knight (understandably mistaken for a |
| woman by Andrew Shirley) prances. | | woman by Andrew Shirley) prances. |
| 91 | | 91 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Dora GORDINE FRBs (b. 1906) | | Dora GORDINE FRBs (b. 1906) |
| n | | n | @@PROCESS |
| 513. Posthumous portrait of | | 513. Posthumous portrait of |
| Lucien Pissarro | | Lucien Pissarro |
| 31.7cms. (height); 7.5 cms. (height of plinth); 24cms. (length | | 31.7cms. (height); 7.5 cms. (height of plinth); 24cms. (length |
| of plinth); 20 cms. (width of plinth) | | of plinth); 20 cms. (width of plinth) |
| :ars::zfo¥:hGaof:Sn¥;i:edne::,;:#cfs:,fjEatu;ncain¥::[oa:;:::tt.hwearb,ack | | :ars::zfo¥:hGaof:Sn¥;i:edne::,;:#cfs:,fjEatu;ncain¥::[oa:;:::tt.hwearb,ack |
| of the crown of the head. Mounted on a wooden plinth. | | of the crown of the head. Mounted on a wooden plinth. |
| Presented by Orovida Pissarro, daughter of Lucien, in June 1957- | | Presented by Orovida Pissarro, daughter of Lucien, in June 1957- |
| registcrcd on 12 June. | | registcrcd on 12 June. |
| Lcttcrs in the Pissarro archive reveal that Dora Gordine Hare | | Lcttcrs in the Pissarro archive reveal that Dora Gordine Hare |
| (she married in 1936 the Hon. Richard Hare, 1907-66, | | (she married in 1936 the Hon. Richard Hare, 1907-66, |
| diplomat and linguist) was a friend of Orovida Pissarro. The | | diplomat and linguist) was a friend of Orovida Pissarro. The |
| sculptor acknowledged a chcquc for £50 towards the bronze | | sculptor acknowledged a chcquc for £50 towards the bronze |
| of the latter's father on 5 June 1956 and in a letter which | | of the latter's father on 5 June 1956 and in a letter which |
| probably accompanied this she discussed the increase in cost | | probably accompanied this she discussed the increase in cost |
| which beard and hat would occasion over her oridnal estimate: | | which beard and hat would occasion over her oridnal estimate: |
| noting that these doubled the size of the mere head and that | | noting that these doubled the size of the mere head and that |
| one could hardly dispense with the beard and that one always | | one could hardly dispense with the beard and that one always |
| had to pay for being distinctive rather than `mass-produced'. | | had to pay for being distinctive rather than `mass-produced'. |
| The hat was, it seems, omitted. A further payment of floo | | The hat was, it seems, omitted. A further payment of floo |
| was acknowledged on 30 September 1956, as was, on 6 June | | was acknowledged on 30 September 1956, as was, on 6 June |
| 1957, a `final cheque' of £815f. It would seem that Orovida | | 1957, a `final cheque' of £815f. It would seem that Orovida |
| commissioncd the sculpture specifically for the new Pissarro | | commissioncd the sculpture specifically for the new Pissarro |
| Room which was opened in the Ashmolcan Museum at the | | Room which was opened in the Ashmolcan Museum at the |
| end of June, although in the event it was placed elsewhere | | end of June, although in the event it was placed elsewhere |
| and only the bust of Camille Pissarro by Paulin (No. 296) | | and only the bust of Camille Pissarro by Paulin (No. 296) |
| was set up in the room (which seems to have displeased Dora | | was set up in the room (which seems to have displeased Dora |
| Gordinc). The projected hat might have been designed to | | Gordinc). The projected hat might have been designed to |
| make the portrait more of a companion with the Paulin. | | make the portrait more of a companion with the Paulin. |
| Letters from Ian Robertson to Orovida Pissarro of 15 and 24 | | Letters from Ian Robertson to Orovida Pissarro of 15 and 24 |
| April discuss the patina of the bronze. According to | | April discuss the patina of the bronze. According to |
| Robertson, the Keeper, Parker, felt that the Paulin bronze | | Robertson, the Keeper, Parker, felt that the Paulin bronze |
| was too black and had bccn impressed by a paler grecni§h | | was too black and had bccn impressed by a paler grecni§h |
| patina that he had seen given to a torso by Rodin with the | | patina that he had seen given to a torso by Rodin with the |
| dealers Roland Browse and Delbanco and this Gordine was | | dealers Roland Browse and Delbanco and this Gordine was |
| urged to imitate. A letter of 27 May suggests that the plinth | | urged to imitate. A letter of 27 May suggests that the plinth |
| was provided by the Museum. | | was provided by the Museum. |
| 93 | | 93 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Joseph GOTT ( 1786-1860) | | Joseph GOTT ( 1786-1860) |
| n | | n | @@PROCESS |
| 514. Cupid | | 514. Cupid |
| 41.4cms. (height of bust); 11.8 cms. (height of turned socle and | | 41.4cms. (height of bust); 11.8 cms. (height of turned socle and |
| block plinth) | | block plinth) |
| Carrara marble. `l. GOTT Fl' is chiselled on the back edge of the | | Carrara marble. `l. GOTT Fl' is chiselled on the back edge of the |
| temination of the bust. `S.34 e' is painted in black below the | | temination of the bust. `S.34 e' is painted in black below the |
| neck. Mounted on original turned and waisted socle with flat space | | neck. Mounted on original turned and waisted socle with flat space |
| •for inscription above upper mouldings. | | •for inscription above upper mouldings. |
| Bequeathed by C. D. E. Fortnum in 1899. S. 34 in his catalogues. | | Bequeathed by C. D. E. Fortnum in 1899. S. 34 in his catalogues. |
| Probably acquired by him in Rome in 1851 (see No. 3), ccrtalnly | | Probably acquired by him in Rome in 1851 (see No. 3), ccrtalnly |
| acquired by him before 1857 when included in his preliminary | | acquired by him before 1857 when included in his preliminary |
| manuscript catalogue (p. 7). The photographs of the Hill House, | | manuscript catalogue (p. 7). The photographs of the Hill House, |
| Stanmore, drawing room show the bust companion with No. 515 | | Stanmore, drawing room show the bust companion with No. 515 |
| on black marble piers on either side of a large looking glass opposite | | on black marble piers on either side of a large looking glass opposite |
| Nos. 3 and 20 similarly arranged at the other end of the room. | | Nos. 3 and 20 similarly arranged at the other end of the room. |
| The bust is copied from the celebrated A7#o7ic or Erof a/ | | The bust is copied from the celebrated A7#o7ic or Erof a/ |
| Centocelle. also lmown a.s the Genius Of the Vatican, a statue-never | | Centocelle. also lmown a.s the Genius Of the Vatican, a statue-never |
| restored in the arms and also missing most of the legs-which | | restored in the arms and also missing most of the legs-which |
| was to be seen in the Galleria delle Statue in the Vatican | | was to be seen in the Galleria delle Statue in the Vatican |
| Museums. It had been discovered before 1772 under the | | Museums. It had been discovered before 1772 under the |
| papacy of Clement XIV, to whom it was sold for 280 fc#d¢. | | papacy of Clement XIV, to whom it was sold for 280 fc#d¢. |
| by Gavin Hanilton, having been excavated on the Via | | by Gavin Hanilton, having been excavated on the Via |
| Labicana, Centocelle, on the site (Visconti speculated) of the | | Labicana, Centocelle, on the site (Visconti speculated) of the |
| Villa of Heliogabalus. (See E. Q. Visconti, A4"fco P¢.a-a/ | | Villa of Heliogabalus. (See E. Q. Visconti, A4"fco P¢.a-a/ |
| c7"e"£¢.»o (Rome,1818), i, pl. xii, pp. 20-I; C. Pietrangeli, | | c7"e"£¢.»o (Rome,1818), i, pl. xii, pp. 20-I; C. Pietrangeli, |
| Scarii e scoperte di antichitd sotto il Pontificato di Pio VI | | Scarii e scoperte di antichitd sotto il Pontificato di Pio VI |
| (Rome,1958), 89 no. 4.) Copies were quickly in demand | | (Rome,1958), 89 no. 4.) Copies were quickly in demand |
| with visitors to Rome and they seem usually to have been | | with visitors to Rome and they seem usually to have been |
| busts. Henry Blundell, for instance, had two in his collection | | busts. Henry Blundell, for instance, had two in his collection |
| at Ince in Lancashire by 1803 (`H.B.', Acco#7¢£ a/£¢c Sf¢f"GJ | | at Ince in Lancashire by 1803 (`H.B.', Acco#7¢£ a/£¢c Sf¢f"GJ |
| . . . ¢f J»cc (Liverpool, 1803), mos. 121 and 183, probably | | . . . ¢f J»cc (Liverpool, 1803), mos. 121 and 183, probably |
| corresponding with nos. 6901 and 6909 in the Walker Art | | corresponding with nos. 6901 and 6909 in the Walker Art |
| Gallery, Liverpool, today, as noted by E. Morris and M. | | Gallery, Liverpool, today, as noted by E. Morris and M. |
| Hopkinson, FoyGGgiv C¢£¢/o2r%G (Liverpool,1977), 318-19). | | Hopkinson, FoyGGgiv C¢£¢/o2r%G (Liverpool,1977), 318-19). |
| Fortnum seems to have had no personal knowledge of, or at | | Fortnum seems to have had no personal knowledge of, or at |
| least not much interest in, Gott, whose initial hc records in | | least not much interest in, Gott, whose initial hc records in |
| his later catalogues as `1.' misreading his own handwriting | | his later catalogues as `1.' misreading his own handwriting |
| (`J' is given in his early entry). | | (`J' is given in his early entry). |
| 94 | | 94 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Joseph GOTT ( 1786-1860) | | Joseph GOTT ( 1786-1860) |
| n | | n | @@PROCESS |
| 515. Isis | | 515. Isis |
| 54.5 cms. (height including socle); 12 cms. (height of socle); | | 54.5 cms. (height including socle); 12 cms. (height of socle); |
| 19.5 cms. (diameter of socle) | | 19.5 cms. (diameter of socle) |
| Carrara marble. Chiselled on back edge of termination of the t5ust: | | Carrara marble. Chiselled on back edge of termination of the t5ust: |
| `T. GOTT Fl' Mounted on an original turned and waisted socle with | | `T. GOTT Fl' Mounted on an original turned and waisted socle with |
| a flat space for inscription above the upper mouldings. | | a flat space for inscription above the upper mouldings. |
| Bequeathed by C. D. E. Fortnum in 1899. S. 35 in his catalogues. | | Bequeathed by C. D. E. Fortnum in 1899. S. 35 in his catalogues. |
| Probably acquired by him in Rome in 1851 (see No. 3), certainly | | Probably acquired by him in Rome in 1851 (see No. 3), certainly |
| acquired by him before 1857 when included in his preliminary | | acquired by him before 1857 when included in his preliminary |
| manuscript catalogue (p. 7). For location in the Hill House, | | manuscript catalogue (p. 7). For location in the Hill House, |
| Stanmoor, see No. 514, for which this is evidently designed as a | | Stanmoor, see No. 514, for which this is evidently designed as a |
| companion. | | companion. |
| The head is copied from one in the Sala dei Busti of the | | The head is copied from one in the Sala dei Busti of the |
| Museo Pio-Clemcntino in the Vatican acquired from Cardinal | | Museo Pio-Clemcntino in the Vatican acquired from Cardinal |
| Albani's collection under the pontificate of Pope Pius VI and | | Albani's collection under the pontificate of Pope Pius VI and |
| published by Visconti as rcprescnting Isis on account of the | | published by Visconti as rcprescnting Isis on account of the |
| I.otus-shaped central curls. It is now regarded simply as an | | I.otus-shaped central curls. It is now regarded simply as an |
| ideal female. There are no obvious differences except that in | | ideal female. There are no obvious differences except that in |
| the Vatican version the shoulders and chest are uncomfortably | | the Vatican version the shoulders and chest are uncomfortably |
| terminated along the lines of the falling locks of hair so that | | terminated along the lines of the falling locks of hair so that |
| the head is more obviously a tidied-up fragment of a full- | | the head is more obviously a tidied-up fragment of a full- |
| 1ength statue-the soclc, however, is the same. (For the | | 1ength statue-the soclc, however, is the same. (For the |
| Vatican marble see W.' Amelung, D¢.c Sc#/P£"7ic„ deJ | | Vatican marble see W.' Amelung, D¢.c Sc#/P£"7ic„ deJ |
| V¢f¢.c¢7?¢.Jc¢c7¢ A4l#fc"7#f (Berlin,1908), ii, 3, no. 375, | | V¢f¢.c¢7?¢.Jc¢c7¢ A4l#fc"7#f (Berlin,1908), ii, 3, no. 375, |
| pp. 558ndo (text) and ii, pis. 65 and 73.) | | pp. 558ndo (text) and ii, pis. 65 and 73.) |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Giovanni Battista GUELFI (active 1715-34) | | Giovanni Battista GUELFI (active 1715-34) |
| n | | n | @@PROCESS |
| 516 and 517. Bust portraits of | | 516 and 517. Bust portraits of |
| Thomas Fermor and his wife | | Thomas Fermor and his wife |
| Henrietta Louisa, earl and countess | | Henrietta Louisa, earl and countess |
| of Pomfret | | of Pomfret |
| 71.5 cms. (height of bust of I.ord Pomfret including socle); | | 71.5 cms. (height of bust of I.ord Pomfret including socle); |
| 74.7 cms. (height of bust of IAdy Pomfret including socle); | | 74.7 cms. (height of bust of IAdy Pomfret including socle); |
| 13.4 cms. (height of both socles); 19.8 cms. (diameter of base of | | 13.4 cms. (height of both socles); 19.8 cms. (diameter of base of |
| both socles); 121 cms. (height of both pedestals) | | both socles); 121 cms. (height of both pedestals) |
| Carrara marble. There is a slight flaw in the marble under the chin | | Carrara marble. There is a slight flaw in the marble under the chin |
| of the portrait of Lady Pomfret. Both busts are attached to turned, | | of the portrait of Lady Pomfret. Both busts are attached to turned, |
| waisted socles of a green and pink bruised and mottled breccia | | waisted socles of a green and pink bruised and mottled breccia |
| marble. There is a metal plate attached under the base of the socle | | marble. There is a metal plate attached under the base of the socle |
| of the bust of I.ady Pomfret. Both busts are mounted on pedestals | | of the bust of I.ady Pomfret. Both busts are mounted on pedestals |
| in the form of column shafts of ¢rccc;¢ dG. SGr"pezz# marble with | | in the form of column shafts of ¢rccc;¢ dG. SGr"pezz# marble with |
| plinth and base moulding of white Carrara marble. The names of | | plinth and base moulding of white Carrara marble. The names of |
| the sitters and their dates are chiselled on the columns and the | | the sitters and their dates are chiselled on the columns and the |
| letters are added. | | letters are added. |
| Presumed to have been given to the University of Oxford with the | | Presumed to have been given to the University of Oxford with the |
| residue of the earl of AIundcl's conection of marbles at Easton | | residue of the earl of AIundcl's conection of marbles at Easton |
| Neston by the dowager countess of pomfret in 1755, but conceivably | | Neston by the dowager countess of pomfret in 1755, but conceivably |
| added to that gift after her death. Recorded by C. F. Ben in the | | added to that gift after her death. Recorded by C. F. Ben in the |
| first of his j4"„#¢/ RcPo#f to the visitors of the Ashmolean Museum | | first of his j4"„#¢/ RcPo#f to the visitors of the Ashmolean Museum |
| as Keeper of the newly formed Department of Fine Art (1908: 9) | | as Keeper of the newly formed Department of Fine Art (1908: 9) |
| as recently supplied with their pedestals and inscriptions and placed | | as recently supplied with their pedestals and inscriptions and placed |
| in two of the niches on the landing of the redecorated great staircase, | | in two of the niches on the landing of the redecorated great staircase, |
| where they have remained ever since. | | where they have remained ever since. |
| E= | | E= |
| r | | r |
| 96 | | 96 |
| The suggestion that this pair of busts is by Guclfi seems first | | The suggestion that this pair of busts is by Guclfi seems first |
| to have been made by Mrs Esdaile (in a letter to C. F. Bell of | | to have been made by Mrs Esdaile (in a letter to C. F. Bell of |
| 1922 or 1923 which has not survived but to which Mrs Esdaile | | 1922 or 1923 which has not survived but to which Mrs Esdaile |
| refers in a later letter to Parker of 15 November 1934). She | | refers in a later letter to Parker of 15 November 1934). She |
| pointed out that Guclfi was known to have worked for the | | pointed out that Guclfi was known to have worked for the |
| Pomfrets at Easton Neston. The similarity with other | | Pomfrets at Easton Neston. The similarity with other |
| documented and signed sculpture by Guelfi, and in particular | | documented and signed sculpture by Guelfi, and in particular |
| with other bust portraits, confirms the attribution beyond | | with other bust portraits, confirms the attribution beyond |
| reasonable doubt. Comparison with the marble bust inscribed | | reasonable doubt. Comparison with the marble bust inscribed |
| `Joannes Baptista Guelfi Romanus fccit' commemorating the | | `Joannes Baptista Guelfi Romanus fccit' commemorating the |
| duchess of Richmond, who died in 1722, part of the | | duchess of Richmond, who died in 1722, part of the |
| monument crectcd in 1734 in the church at Decne, | | monument crectcd in 1734 in the church at Decne, |
| Northamptonshire, for which the terracotta model is in the | | Northamptonshire, for which the terracotta model is in the |
| Victoria and Albcrt Museum, is particularly telling. | | Victoria and Albcrt Museum, is particularly telling. |
| If the latter terracotta is excepted, the busts of the Pomfrets | | If the latter terracotta is excepted, the busts of the Pomfrets |
| must be the best surviving works by Guelfi in this country. | | must be the best surviving works by Guelfi in this country. |
| They are also in excellent condition. The flow and the texture | | They are also in excellent condition. The flow and the texture |
| of the antique drapery, the crisp carving of the hair (most | | of the antique drapery, the crisp carving of the hair (most |
| evident in Lady Pomfret's side curls), and the softness of the | | evident in Lady Pomfret's side curls), and the softness of the |
| flesh (in Lord Pomfret's lips especially) are marvellously | | flesh (in Lord Pomfret's lips especially) are marvellously |
| preserved. However, the fact that husband and wife look | | preserved. However, the fact that husband and wife look |
| sufficiently alike to bc brother and sister hints at Guelfi's | | sufficiently alike to bc brother and sister hints at Guelfi's |
| limitation as a portraitist-a limitation weu defined by | | limitation as a portraitist-a limitation weu defined by |
| Margaret Whinney: `All Guelfi's portraits have the sane long | | Margaret Whinney: `All Guelfi's portraits have the sane long |
| faces, large-featured, haughty, and shghtly horse-like-in fact, | | faces, large-featured, haughty, and shghtly horse-like-in fact, |
| to an Italian, the typical English face' (Sc#/Pf"rG G.# Br¢.}¢G.7¢ | | to an Italian, the typical English face' (Sc#/Pf"rG G.# Br¢.}¢G.7¢ |
| 1530-J830 (Harmondsworth,1964), 81 ). | | 1530-J830 (Harmondsworth,1964), 81 ). |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Perhaps by Giovanni Battista GUELFI (active 1715-34| | | Perhaps by Giovanni Battista GUELFI (active 1715-34| |
| n | | n | @@PROCESS |
| 518. Female sphinx `couchant' | | 518. Female sphinx `couchant' |
| 61 cms. (height including integral plinth); Ill cms. (length of | | 61 cms. (height including integral plinth); Ill cms. (length of |
| integral plinth); 33 cms. (width of integral plinth) | | integral plinth); 33 cms. (width of integral plinth) |
| Coarse-grained white marble (not Carrara). The surface is much | | Coarse-grained white marble (not Carrara). The surface is much |
| abraded from exposure to the frost. The nose, pa.rt of the lips, and | | abraded from exposure to the frost. The nose, pa.rt of the lips, and |
| the top of the miniature Double Crown have been broken off (before | | the top of the miniature Double Crown have been broken off (before |
| 1763). The sculpture was cleaned by Mrs Kimber in 1989. It was | | 1763). The sculpture was cleaned by Mrs Kimber in 1989. It was |
| previously darkened with much deeply ingrained dirt and partially | | previously darkened with much deeply ingrained dirt and partially |
| green from moss. | | green from moss. |
| The sphinx is one of a pair belonging to the collection of ancient | | The sphinx is one of a pair belonging to the collection of ancient |
| sculptures given to Oxford University by the dowager countess of | | sculptures given to Oxford University by the dowager countess of |
| Pomfrct (see No. 526) in 1755. The collection included a large part | | Pomfrct (see No. 526) in 1755. The collection included a large part |
| of the `Arundel marbles' bought by her father-in-law Sir William | | of the `Arundel marbles' bought by her father-in-law Sir William |
| Fermor (later Ijord Lempster) from the sixth duke of Norfolk in | | Fermor (later Ijord Lempster) from the sixth duke of Norfolk in |
| 1691; until its transfer to Oxford it was housed at the Pomfrets' | | 1691; until its transfer to Oxford it was housed at the Pomfrets' |
| seat Easton Neston, Northamptonshire, where the sculptures were | | seat Easton Neston, Northamptonshire, where the sculptures were |
| distributed between the house and grounds. The two `Sphynges' | | distributed between the house and grounds. The two `Sphynges' |
| were seen in the garden-house there by John I.oveday (J. E. T. | | were seen in the garden-house there by John I.oveday (J. E. T. |
| I.oveday, D¢.¢vy a/a To#y j» j732 (Roxburghc Club, Edinburgh, | | I.oveday, D¢.¢vy a/a To#y j» j732 (Roxburghc Club, Edinburgh, |
| 1890), 225). Both may have originally been in the great collection | | 1890), 225). Both may have originally been in the great collection |
| formed by the earl of Arundel in the first half of the seventeenth | | formed by the earl of Arundel in the first half of the seventeenth |
| century: there are, however, grounds for thinking that only one | | century: there are, however, grounds for thinking that only one |
| came from that source, and that the other was made at the behest | | came from that source, and that the other was made at the behest |
| of the Pomfret family (scc below). In Oxford the sphinxes were | | of the Pomfret family (scc below). In Oxford the sphinxes were |
| placed in the sculpture gallery of the Old Schools to either side of | | placed in the sculpture gallery of the Old Schools to either side of |
| the statue of "¢.»crp¢ which closed the vista as may just be discerned | | the statue of "¢.»crp¢ which closed the vista as may just be discerned |
| in William Westall's watercolour drawing of 1813. After transfer to | | in William Westall's watercolour drawing of 1813. After transfer to |
| the University Galleries they were placed in the Crypt or sub-gallery | | the University Galleries they were placed in the Crypt or sub-gallery |
| but remained visible to the public. They are recorded there in the | | but remained visible to the public. They are recorded there in the |
| H¢#dfoo4 G„¢.dG of 1859 (mos. 114 and 116, p. 23). They seem to | | H¢#dfoo4 G„¢.dG of 1859 (mos. 114 and 116, p. 23). They seem to |
| have been put into storage in the late nineteenth century. They | | have been put into storage in the late nineteenth century. They |
| were loaned to the Botanic Gardens whose curators had requested | | were loaned to the Botanic Gardens whose curators had requested |
| suitable statuary in 1959. In May 1989 they were rctrievcd on the | | suitable statuary in 1959. In May 1989 they were rctrievcd on the |
| initiative of Dr Whitchouse and placed on display in the Randolph | | initiative of Dr Whitchouse and placed on display in the Randolph |
| Gallery. | | Gallery. |
| Although the two Pomfret sphinxes are closely matched in | | Although the two Pomfret sphinxes are closely matched in |
| iconography, there are notable differences of style: the sphinx | | iconography, there are notable differences of style: the sphinx |
| catalogued here seems to have been modelled on the other | | catalogued here seems to have been modelled on the other |
| statue, which is smaller and less well preserved. Neither is an | | statue, which is smaller and less well preserved. Neither is an |
| accomplished piece of sculpture, and the smaller sphinx has | | accomplished piece of sculpture, and the smaller sphinx has |
| been executed in a particularly summary fashion. Nonetheless, | | been executed in a particularly summary fashion. Nonetheless, |
| its adherence to traditional Egyptian iconography is | | its adherence to traditional Egyptian iconography is |
| noteworthy, and suggests that it is of the Roman Imperial | | noteworthy, and suggests that it is of the Roman Imperial |
| period, when other sinular sphinxes were certainly made for | | period, when other sinular sphinxes were certainly made for |
| `Egyptian' settings. The white marble is atypical of native | | `Egyptian' settings. The white marble is atypical of native |
| Egyptian work, even of this period, and probably indicates a | | Egyptian work, even of this period, and probably indicates a |
| Mediterranean origiv. This sphinx might well have been | | Mediterranean origiv. This sphinx might well have been |
| acquired in Italy in the seventeenth century for Anindel's | | acquired in Italy in the seventeenth century for Anindel's |
| collection. | | collection. |
| Its larger companion (No. 518) is a more corpulent and | | Its larger companion (No. 518) is a more corpulent and |
| fleshy creation in which the details of the smaller sphinx are | | fleshy creation in which the details of the smaller sphinx are |
| copied but improved upon: the anatomy is rendered more | | copied but improved upon: the anatomy is rendered more |
| plastically, the face broadened and ennobled, the roughly | | plastically, the face broadened and ennobled, the roughly |
| incised details of the collar translated into relief, and the | | incised details of the collar translated into relief, and the |
| striped »cowef headcloth treated in a style closer to the | | striped »cowef headcloth treated in a style closer to the |
| cushiony aspect of this fcaturc on rococo sphinxes. The | | cushiony aspect of this fcaturc on rococo sphinxes. The |
| rounded profile of the chest has been converted, erroneously, | | rounded profile of the chest has been converted, erroneously, |
| into swelling female breasts. The sphinx might have been | | into swelling female breasts. The sphinx might have been |
| made for Arundel, but for reasons of style and circumstance | | made for Arundel, but for reasons of style and circumstance |
| it seems likely that it was commissioned as an addition to the | | it seems likely that it was commissioned as an addition to the |
| collection at Easton Neston, at a time when paired sphinxes | | collection at Easton Neston, at a time when paired sphinxes |
| (often differentiated as male and female) were becoming | | (often differentiated as male and female) were becoming |
| popular items of garden sculpture. | | popular items of garden sculpture. |
| Guelfi was said by Vertuc to have spent `somc time at Iid. | | Guelfi was said by Vertuc to have spent `somc time at Iid. |
| Pomfrets . . . Eston . . . Northampt. imployd. repairing the | | Pomfrets . . . Eston . . . Northampt. imployd. repairing the |
| Antique Statues. Arundel Collect.' (`The Vcrtuc Notebooks', | | Antique Statues. Arundel Collect.' (`The Vcrtuc Notebooks', |
| iri, Wfl7/po/c Soc¢.cty, 22 ( 19334), 734) so it is likely that it | | iri, Wfl7/po/c Soc¢.cty, 22 ( 19334), 734) so it is likely that it |
| was he who created this larger sphinx to pair with the smaller, | | was he who created this larger sphinx to pair with the smaller, |
| ancient one (as suggested by John Davis in his forthcoming | | ancient one (as suggested by John Davis in his forthcoming |
| study of garden ornaments). `Afterwards Guclfi was much | | study of garden ornaments). `Afterwards Guclfi was much |
| employed for many years by Iud. Burlington in his house in | | employed for many years by Iud. Burlington in his house in |
| I.ondon and made many statues for his Villa at Chiswick' | | I.ondon and made many statues for his Villa at Chiswick' |
| (ibid. ). There are at Chiswick a pair of portland stone sphinxes | | (ibid. ). There are at Chiswick a pair of portland stone sphinxes |
| dating from before 1733 (now in the gardens north of the | | dating from before 1733 (now in the gardens north of the |
| house) which show strong similarities to the Pomfrct pair | | house) which show strong similarities to the Pomfrct pair |
| with their miniature Double Crowns. They arc, however, | | with their miniature Double Crowns. They arc, however, |
| much more accomplished sculptures and have the addition | | much more accomplished sculptures and have the addition |
| of omamcntal saddle-cloths masking their ribby flanks, a | | of omamcntal saddle-cloths masking their ribby flanks, a |
| dcvicc probably popularized by Houzeau and Lerambert's | | dcvicc probably popularized by Houzeau and Lerambert's |
| Versailles pair of 1668 (seemingly the progenitors of the | | Versailles pair of 1668 (seemingly the progenitors of the |
| fashion for garden sphinxes, though the putti which | | fashion for garden sphinxes, though the putti which |
| accompany them do not appear elsewhere). The Chiswick | | accompany them do not appear elsewhere). The Chiswick |
| stone sphinxes scrvcd in turn as the models for a lead sphinx | | stone sphinxes scrvcd in turn as the models for a lead sphinx |
| by John Cheere (at Chiswick, with copies elsewhere) and a | | by John Cheere (at Chiswick, with copies elsewhere) and a |
| pair of stone sphinxes at Goodwood. | | pair of stone sphinxes at Goodwood. |
| The sift of the Pomfret Collection to the University was | | The sift of the Pomfret Collection to the University was |
| marked in the O#o#¢ A/ow¢"¢c& for 1755 with a fanciful | | marked in the O#o#¢ A/ow¢"¢c& for 1755 with a fanciful |
| engraving of its triumphant arrival, but the single sphinx | | engraving of its triumphant arrival, but the single sphinx |
| depicted therein resembles neither sculpture closely but is | | depicted therein resembles neither sculpture closely but is |
| rather a generic representation, typical of antiquarian | | rather a generic representation, typical of antiquarian |
| iuustrations of the period. The larger sphinx was illustrated | | iuustrations of the period. The larger sphinx was illustrated |
| in an engraving by J. Miller in Chandier's A4l¢rowo7¢ O#o»¢.c»j¢ | | in an engraving by J. Miller in Chandier's A4l¢rowo7¢ O#o»¢.c»j¢ |
| of 1763 in a garden setting and in its prcscnt broken condition | | of 1763 in a garden setting and in its prcscnt broken condition |
| (i, pl. CIXVII). In Chandler's notes there is no indication | | (i, pl. CIXVII). In Chandler's notes there is no indication |
| that it was not an ancient work like its companion: `eximie | | that it was not an ancient work like its companion: `eximie |
| sculpta, ct cum altera, quam habemus, huic simili, more | | sculpta, ct cum altera, quam habemus, huic simili, more |
| Aegyptio omatissima' (ibid. p. viii). | | Aegyptio omatissima' (ibid. p. viii). |
| Most of this catalogue entry has been compiled by Helen | | Most of this catalogue entry has been compiled by Helen |
| Whitehouse of the Department of Antiquities. | | Whitehouse of the Department of Antiquities. |
| 97 | | 97 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| 98 | | 98 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| H. HELY (active 1822) | | H. HELY (active 1822) |
| n | | n | @@PROCESS |
| 519. Dying gladiator | | 519. Dying gladiator |
| 49+7 cms. (height including plinth); 6.9 cms. (height of plinth); | | 49+7 cms. (height including plinth); 6.9 cms. (height of plinth); |
| 94.8 cms. (length of plinth); 44.6 cms. (width of plinth) | | 94.8 cms. (length of plinth); 44.6 cms. (width of plinth) |
| Carrara marble. The sculpture was discoloured a uniform dark brown | | Carrara marble. The sculpture was discoloured a uniform dark brown |
| presumably from storage in condition where dirt was combined | | presumably from storage in condition where dirt was combined |
| with the discharge of oil heating-t a glance it would have been | | with the discharge of oil heating-t a glance it would have been |
| mistaken for a bronze. When cleaned early in 1987 it was found | | mistaken for a bronze. When cleaned early in 1987 it was found |
| that the marble had been stained an unattractivc yeuow and all the | | that the marble had been stained an unattractivc yeuow and all the |
| original polish had been lost. The end of the penis has been broken | | original polish had been lost. The end of the penis has been broken |
| off and lost, as has the large toe of the proper right foot. There are | | off and lost, as has the large toe of the proper right foot. There are |
| recent minor losses to the lower edge of the plinth. A small | | recent minor losses to the lower edge of the plinth. A small |
| projection in the pubcs reflects the use of a copyist's point. `H. HELy. | | projection in the pubcs reflects the use of a copyist's point. `H. HELy. |
| FACIEBAT / ROMAE. MDCCCXXII.' is chiselled on the front face of | | FACIEBAT / ROMAE. MDCCCXXII.' is chiselled on the front face of |
| the plinth to proper left near the figure's left foot. The date is in | | the plinth to proper left near the figure's left foot. The date is in |
| smaller capitals. | | smaller capitals. |
| From the bequest of the Revd Robert Finch MA, received in the | | From the bequest of the Revd Robert Finch MA, received in the |
| Department soon after 22 February 1973 when the Librarian of the | | Department soon after 22 February 1973 when the Librarian of the |
| Taylor Institute, Giles Barber, wrote to Gerald Taylor seeking | | Taylor Institute, Giles Barber, wrote to Gerald Taylor seeking |
| suitable storage for this item (and a plaster cast of an antique relief). | | suitable storage for this item (and a plaster cast of an antique relief). |
| The sculpture was no. 45 on a list of 45 works of art described as | | The sculpture was no. 45 on a list of 45 works of art described as |
| part of the bequest in a memorandum dated `4/6/83' (1883) to | | part of the bequest in a memorandum dated `4/6/83' (1883) to |
| which the note is added that the above works were `finally' handed | | which the note is added that the above works were `finally' handed |
| to the Keeper of the Ashmolean on 22 August 1921 but returned | | to the Keeper of the Ashmolean on 22 August 1921 but returned |
| by him as not desirable. The history of this bequest is highly | | by him as not desirable. The history of this bequest is highly |
| complicated. Finch ( 1783-1830) died in Rome, having resided for | | complicated. Finch ( 1783-1830) died in Rome, having resided for |
| some years in Italy for reasons of health. He bequeathed his library | | some years in Italy for reasons of health. He bequeathed his library |
| and works of art to Oxford University, with a life interest for Henry | | and works of art to Oxford University, with a life interest for Henry |
| Mayer, his secretary, who, however, handed them over to the | | Mayer, his secretary, who, however, handed them over to the |
| University in 1839. The collections were deposited in the Taylorian | | University in 1839. The collections were deposited in the Taylorian |
| but were redistributed and partly disposed of around 1910. C. F. | | but were redistributed and partly disposed of around 1910. C. F. |
| Bell, then Keeper of the Department of Fine Art, did his utmost | | Bell, then Keeper of the Department of Fine Art, did his utmost |
| not to accept anything and had a specially low opinion of this marble. | | not to accept anything and had a specially low opinion of this marble. |
| Although no documentation exists to prove it, however, it must be | | Although no documentation exists to prove it, however, it must be |
| identical with the copy of the G/¢d¢.¢}or displayed in the University | | identical with the copy of the G/¢d¢.¢}or displayed in the University |
| Galleries during the nineteenth century at the head of the stairs | | Galleries during the nineteenth century at the head of the stairs |
| leading down from the Randolph Gallery to the basement. | | leading down from the Randolph Gallery to the basement. |
| The J2)l¢."gg/¢dG.¢£o7', or P);¢.„g G¢#/, in the Capitolinc | | The J2)l¢."gg/¢dG.¢£o7', or P);¢.„g G¢#/, in the Capitolinc |
| Museum, of which this is a poor, reduced copy, was for | | Museum, of which this is a poor, reduced copy, was for |
| several centuries one of the most famous and frequently copied | | several centuries one of the most famous and frequently copied |
| antique statues. For an account of its fame and critical fortunes | | antique statues. For an account of its fame and critical fortunes |
| see F. Haskell and N. Penny, T¢ae ¢#d £4e A78f¢.g"c (I.ondon | | see F. Haskell and N. Penny, T¢ae ¢#d £4e A78f¢.g"c (I.ondon |
| and New Haven, Conn.,1981), 224-7. I have found no | | and New Haven, Conn.,1981), 224-7. I have found no |
| other mention of the sculptor Hely. | | other mention of the sculptor Hely. |
| 99 | | 99 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Presumably `Cox of Chapel Place', I.ondon | | Presumably `Cox of Chapel Place', I.ondon |
| After John HENNING ( 1771-1851 ) | | After John HENNING ( 1771-1851 ) |
| n | | n | @@PROCESS |
| 520. Gods in congress, warriors on | | 520. Gods in congress, warriors on |
| parade, and sacrificial procession | | parade, and sacrificial procession |
| (from the Parthenon frieze) | | (from the Parthenon frieze) |
| Each relief is 5.2 cms. high. They are of varied length. The frame | | Each relief is 5.2 cms. high. They are of varied length. The frame |
| is 32 cms. high and 43 cms. long | | is 32 cms. high and 43 cms. long |
| Twenty-one thin copper electrodeposits, slightly tarnished, nailed | | Twenty-one thin copper electrodeposits, slightly tarnished, nailed |
| irregularly into wood, and framed with a plain, flat, coarse pine | | irregularly into wood, and framed with a plain, flat, coarse pine |
| moulding painted white. The five reliefs in the first row include | | moulding painted white. The five reliefs in the first row include |
| inscriptions in raised letters as follows: `W5 HENNING F 1819'; | | inscriptions in raised letters as follows: `W5 HENNING F 1819'; |
| `W9 / HENNING F 1819'; `W4 HENNING F. PUB. 1817'; `Wl 1'; | | `W9 / HENNING F 1819'; `W4 HENNING F. PUB. 1817'; `Wl 1'; |
| `Wlo / HENNING F / 1819 / 19 QUEENS ROW. PENTONVILLE | | `Wlo / HENNING F / 1819 / 19 QUEENS ROW. PENTONVILLE |
| LONDON'. Of the four reliefs in the second row the first is unlettered, | | LONDON'. Of the four reliefs in the second row the first is unlettered, |
| the others are inscribed as follows: `HENNING. F. 1820'; `W5 | | the others are inscribed as follows: `HENNING. F. 1820'; `W5 |
| HENNING F 1819'; `HENNING F. APRIL 1820 / I.ondon'. The four | | HENNING F 1819'; `HENNING F. APRIL 1820 / I.ondon'. The four |
| reliefs in the third row arc inscribed as follows: `HENNING. F. / S / D'; | | reliefs in the third row arc inscribed as follows: `HENNING. F. / S / D'; |
| `HENNING F.1817 / ILW'; `8W/ 1819 LONDON / HENNING. F'; | | `HENNING F.1817 / ILW'; `8W/ 1819 LONDON / HENNING. F'; |
| `. . ORTH HENNING F LONDON 1820'. The four reliefs in the fourth | | `. . ORTH HENNING F LONDON 1820'. The four reliefs in the fourth |
| row are stamped as follows: `D'; `E9 8 / HENNING. F'; `WI W2 | | row are stamped as follows: `D'; `E9 8 / HENNING. F'; `WI W2 |
| HENNING. F. May 2.1821'; `HENNING. F. PUB [thc remainder is | | HENNING. F. May 2.1821'; `HENNING. F. PUB [thc remainder is |
| illedble]' . The second of the four reliefs in the fifth row is unstamped, | | illedble]' . The second of the four reliefs in the fifth row is unstamped, |
| the others are stamped as follows: `HENNING / SID'; `E.11 HENNING | | the others are stamped as follows: `HENNING / SID'; `E.11 HENNING |
| F'; `HENNING 1817/ 14 W'. An old label on the back of the franc | | F'; `HENNING 1817/ 14 W'. An old label on the back of the franc |
| is inscribed in brown ink in a nineteenth-century hand: `ELectro | | is inscribed in brown ink in a nineteenth-century hand: `ELectro |
| type by Henning Copied from Bas reliefs (reduced) found in the | | type by Henning Copied from Bas reliefs (reduced) found in the |
| ruins of the Temple of Apollo / Epicurus Built on Mount Cotylion | | ruins of the Temple of Apollo / Epicurus Built on Mount Cotylion |
| at a distance from the ancient city / of Phigalia in Arcadia-this Bas | | at a distance from the ancient city / of Phigalia in Arcadia-this Bas |
| relief is part of the Frieze in the interior / of the Cella / Presented by | | relief is part of the Frieze in the interior / of the Cella / Presented by |
| Mr Rind / 1854.' | | Mr Rind / 1854.' |
| Given to the University in 1854 by `Mr Rand' (see above); | | Given to the University in 1854 by `Mr Rand' (see above); |
| transferred from the Department of Antiquities in 1962. If Mr | | transferred from the Department of Antiquities in 1962. If Mr |
| Rand's Sft was to the University Galleries it was not recorded in | | Rand's Sft was to the University Galleries it was not recorded in |
| the Donations Book. It may have been given to some omer | | the Donations Book. It may have been given to some omer |
| institution within the University and subsequently deposited. | | institution within the University and subsequently deposited. |
| The label on this franc of rclicfs is erroneous: all the retiefs | | The label on this franc of rclicfs is erroneous: all the retiefs |
| are after the Parthenon ffieze in the British Museum and have | | are after the Parthenon ffieze in the British Museum and have |
| bccn thoughtlessly assembled. The two duplicates make it | | bccn thoughtlessly assembled. The two duplicates make it |
| unlikely that the frame rcprcscnts an oridnal set. The five | | unlikely that the frame rcprcscnts an oridnal set. The five |
| reliefs in the first row are from the west frieze of the temple: | | reliefs in the first row are from the west frieze of the temple: |
| slab V; slab IX; slab VII; slab IX; slab IX. The four reliefs in | | slab V; slab IX; slab VII; slab IX; slab IX. The four reliefs in |
| the second row are mostly from the north frieze: slab XIII; | | the second row are mostly from the north frieze: slab XIII; |
| slab XVIII; slab V (from the west frieze, a duplicate of the | | slab XVIII; slab V (from the west frieze, a duplicate of the |
| first relief on the top row); slab XIV. The four reliefs in the | | first relief on the top row); slab XIV. The four reliefs in the |
| third row are: south frieze, part of slab XXXVIII and slabs | | third row are: south frieze, part of slab XXXVIII and slabs |
| XLIII-XLIV; west frieze, slab XIV; west frieze, slab VIII; | | XLIII-XLIV; west frieze, slab XIV; west frieze, slab VIII; |
| noith frieze, slabs XXII-XXIII. The four reliefs in the fourth | | noith frieze, slabs XXII-XXIII. The four reliefs in the fourth |
| row are: south frieze, slab XXXVIII; east ffieze, parts of slabs | | row are: south frieze, slab XXXVIII; east ffieze, parts of slabs |
| VI and VII; west frieze, slabs I-Ill; west friczc, slab Ill. The | | VI and VII; west frieze, slabs I-Ill; west friczc, slab Ill. The |
| four reliefs on the fifth row are a duplicate of the first on the | | four reliefs on the fifth row are a duplicate of the first on the |
| third row; east ffiezc, part of slab V; east frieze, part of slab | | third row; east ffiezc, part of slab V; east frieze, part of slab |
| VII; west ffieze, slab XIV. | | VII; west ffieze, slab XIV. |
| John Henning, the son of a carpenter and cabinet maker | | John Henning, the son of a carpenter and cabinet maker |
| in Paisley, Scotland, was working as a wax modeller in 1799. | | in Paisley, Scotland, was working as a wax modeller in 1799. |
| He moved to Glasgow in 1801, to Edinburgh in 1803, to | | He moved to Glasgow in 1801, to Edinburgh in 1803, to |
| n | | n | @@PROCESS |
| 100 | | 100 |
| I.ondon in 1811, experimenting with paste and enamcls in | | I.ondon in 1811, experimenting with paste and enamcls in |
| emulation of his compatriot James Tassie. In London | | emulation of his compatriot James Tassie. In London |
| Hcnning started drawing from the Parthenon marbles and in | | Hcnning started drawing from the Parthenon marbles and in |
| 1812, encouraged by Princess Charlotte, hc carved a miniature | | 1812, encouraged by Princess Charlotte, hc carved a miniature |
| version of the friczc in ivory, restoring the fragmentary or | | version of the friczc in ivory, restoring the fragmentary or |
| abraded portions. He then made slate intaglios from which | | abraded portions. He then made slate intaglios from which |
| casts in white enamel and plaster could be made and by 1816 | | casts in white enamel and plaster could be made and by 1816 |
| proposed making casts in one of wcdgwood's wares (hc had | | proposed making casts in one of wcdgwood's wares (hc had |
| earlier made contact with Wedgwood concerning the | | earlier made contact with Wedgwood concerning the |
| reproduction of his medallion portraits). The proprietors of | | reproduction of his medallion portraits). The proprietors of |
| the ivories, Earl Rosslyn, the marquess of Lansdowne, and | | the ivories, Earl Rosslyn, the marquess of Lansdowne, and |
| Princess Charlotte, permitted this. Indeed the princess, who | | Princess Charlotte, permitted this. Indeed the princess, who |
| had herself portrayed by Hcnning in the attitude of one of | | had herself portrayed by Hcnning in the attitude of one of |
| the goddesses on the frieze, is said to have `luxuriated' in the | | the goddesses on the frieze, is said to have `luxuriated' in the |
| idea of casts of the ivory frieze being `distributed among her | | idea of casts of the ivory frieze being `distributed among her |
| fficnds'. The enamel and plaster reproductions, however, were | | fficnds'. The enamel and plaster reproductions, however, were |
| undertaken on a highly commercial basis. | | undertaken on a highly commercial basis. |
| A complete set was offered for 30 guineas. `It has been | | A complete set was offered for 30 guineas. `It has been |
| done to a scale of a twentieth of the originals; being two | | done to a scale of a twentieth of the originals; being two |
| inches high, and twenty-four feet four inches long; published | | inches high, and twenty-four feet four inches long; published |
| in six parts, from forty-six to fifty-four inches long, each part | | in six parts, from forty-six to fifty-four inches long, each part |
| framed at length separately; they form elegant ornaments for | | framed at length separately; they form elegant ornaments for |
| a chimney-piece; or, fitted up in emulation of volumes, arc | | a chimney-piece; or, fitted up in emulation of volumes, arc |
| adapted to the library. Any part, or portions of a part, can be | | adapted to the library. Any part, or portions of a part, can be |
| had separatcly', according to an advertisement of 18 | | had separatcly', according to an advertisement of 18 |
| December 1820. Between 1820 and 1825 Henning also | | December 1820. Between 1820 and 1825 Henning also |
| published casts of miniature reliefs he had made of the | | published casts of miniature reliefs he had made of the |
| Phigalian frieze (see No. 521 ) and the Raphael cartoons. On | | Phigalian frieze (see No. 521 ) and the Raphael cartoons. On |
| 10 August 1841 an advertisement announced that the price | | 10 August 1841 an advertisement announced that the price |
| had bccn greatly reduced owing to piracy. The whole series | | had bccn greatly reduced owing to piracy. The whole series |
| in a mahogany cabinet with nine drawers was offered at 10 | | in a mahogany cabinet with nine drawers was offered at 10 |
| guineas. On 27 November 1845 the publication by | | guineas. On 27 November 1845 the publication by |
| subscription of Frecbairn's contour engravings after | | subscription of Frecbairn's contour engravings after |
| Henning's reliefs was announced and the same advertiscmcnt | | Henning's reliefs was announced and the same advertiscmcnt |
| mentions the genuine electrotypes made from the intaglios | | mentions the genuine electrotypes made from the intaglios |
| by `Mr Cox of Chapel Place Battersea Fields'. Despite these | | by `Mr Cox of Chapel Place Battersea Fields'. Despite these |
| ventures and the commissions for stone carving shared with | | ventures and the commissions for stone carving shared with |
| his son, John Henning the younger, for the exterior of the | | his son, John Henning the younger, for the exterior of the |
| Hyde Park Screen, the Athenaeum in Ijondon, and the Royal | | Hyde Park Screen, the Athenaeum in Ijondon, and the Royal |
| Manchester Institution, Henning died in poverty. (Almost all | | Manchester Institution, Henning died in poverty. (Almost all |
| the above information is drawn from J. Malden, /o4" | | the above information is drawn from J. Malden, /o4" |
| Henning 1771-1851: t. . . a very ingenious Modeller' (FLerr£Iow | | Henning 1771-1851: t. . . a very ingenious Modeller' (FLerr£Iow |
| District Council and Art Galleries, Paisley,1977). ) For the | | District Council and Art Galleries, Paisley,1977). ) For the |
| process of electrotyping (org#/p¢#ap/¢f£¢.A) in the last century | | process of electrotyping (org#/p¢#ap/¢f£¢.A) in the last century |
| see S. Bury, Vjcfor¢.¢» E/Gcfyop/¢£g (I.ondon,1971 ), 8. | | see S. Bury, Vjcfor¢.¢» E/Gcfyop/¢£g (I.ondon,1971 ), 8. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| | | @@PROCESS |
| 101 | | 101 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| After John HENNING ( 1771-1851 ) | | After John HENNING ( 1771-1851 ) |
| n | | n | @@PROCESS |
| 521. Lapithae battling with | | 521. Lapithae battling with |
| Amazons and centaurs (from the | | Amazons and centaurs (from the |
| Temple of Apollo at Bassae) | | Temple of Apollo at Bassae) |
| Each piccc is 6.2 cms. high. The lengths of the pieces are as | | Each piccc is 6.2 cms. high. The lengths of the pieces are as |
| follows: (¢) 21.5 cms., (4) 23.9 cms., (c) 22.5 cms., (® 24.5 cms., | | follows: (¢) 21.5 cms., (4) 23.9 cms., (c) 22.5 cms., (® 24.5 cms., |
| (G) 23.6cms., (/) 22.75 cms., ®) 24.5 cms., (47) 18 cms., | | (G) 23.6cms., (/) 22.75 cms., ®) 24.5 cms., (47) 18 cms., |
| ( ®.) 24.5 cms. | | ( ®.) 24.5 cms. |
| Plaster of Paris with ingrained dirt and slight speckling from mould | | Plaster of Paris with ingrained dirt and slight speckling from mould |
| in a few areas. (a)-(/) and ®)-( S.) were framed under glass with a | | in a few areas. (a)-(/) and ®)-( S.) were framed under glass with a |
| plain ebonizcd pine moulding as two continuous stripsrutn | | plain ebonizcd pine moulding as two continuous stripsrutn |
| arrangement dating (to judge from old newspapers used as backing) | | arrangement dating (to judge from old newspapers used as backing) |
| from the last century. There are many breaks and missing chips as | | from the last century. There are many breaks and missing chips as |
| follows: (a) broken vertically in one place; chips missing from the | | follows: (a) broken vertically in one place; chips missing from the |
| projecting base; ( 4) chip missing from the projecting base; ( c) broken | | projecting base; ( 4) chip missing from the projecting base; ( c) broken |
| verdcally in one place; chips missing from the projecting base; ( dy | | verdcally in one place; chips missing from the projecting base; ( dy |
| broken vertically in one place; chips missing from the cdgc to proper | | broken vertically in one place; chips missing from the cdgc to proper |
| right, the projecting edge, and along the break; (c) broken vertically | | right, the projecting edge, and along the break; (c) broken vertically |
| in two places, of which that to proper right retains some old adhesive; | | in two places, of which that to proper right retains some old adhesive; |
| chips missing from the projecting base, from the lower comer to | | chips missing from the projecting base, from the lower comer to |
| proper right, and fi.om the proper left edge; (/) broken vertically in | | proper right, and fi.om the proper left edge; (/) broken vertically in |
| one place with remains of old adhesive; (g) broken vertically in two | | one place with remains of old adhesive; (g) broken vertically in two |
| places; chips missing from the projecting edge and the shields; (A) | | places; chips missing from the projecting edge and the shields; (A) |
| broken vertically in one place and along two other lines to form | | broken vertically in one place and along two other lines to form |
| two large and two small triangular pieces; chips missing from the | | two large and two small triangular pieces; chips missing from the |
| two sides, the projecting edge, and along the breaks; ( ;) broken | | two sides, the projecting edge, and along the breaks; ( ;) broken |
| vertically in two places with other breaks au to the proper left-forming | | vertically in two places with other breaks au to the proper left-forming |
| two large and four small pieces (and one piece missing); | | two large and four small pieces (and one piece missing); |
| chips missing from proper right edge and from the breaks. In | | chips missing from proper right edge and from the breaks. In |
| addition there is abrasion on some of the salient portions of the | | addition there is abrasion on some of the salient portions of the |
| relief. | | relief. |
| n | | n | @@PROCESS |
| 102 | | 102 |
| On permanent loan from Trinity College, Oxford. The transfer of | | On permanent loan from Trinity College, Oxford. The transfer of |
| these reliefs was arranged by the College archivist, Bryan Ward- | | these reliefs was arranged by the College archivist, Bryan Ward- |
| Perkins, in the summer of 1987. The reliefs were presumably given | | Perkins, in the summer of 1987. The reliefs were presumably given |
| to Trinity College in the nineteenth century. | | to Trinity College in the nineteenth century. |
| The nine plaster casts are taken from John Hcnning's | | The nine plaster casts are taken from John Hcnning's |
| miniature reproduction ( and restoration) of the ancient Greek | | miniature reproduction ( and restoration) of the ancient Greek |
| ffieze of the Temple of Bassae (acquired for the British | | ffieze of the Temple of Bassae (acquired for the British |
| Museum in 1814). Hcnning's own casts are stamped with | | Museum in 1814). Hcnning's own casts are stamped with |
| his name and with dates ( 1822 and 1823). It is possible that | | his name and with dates ( 1822 and 1823). It is possible that |
| some casts, perhaps the earliest, before imitations appeared, | | some casts, perhaps the earliest, before imitations appeared, |
| were not stamped. The Ashmolean's casts, which are not | | were not stamped. The Ashmolean's casts, which are not |
| stamped, may belong to this category: certainly their quality | | stamped, may belong to this category: certainly their quality |
| would be surprising in a pirated edition. For Henning's | | would be surprising in a pirated edition. For Henning's |
| reproductions of antique fficzes generally scc No. 520. These | | reproductions of antique fficzes generally scc No. 520. These |
| rclicfs correspond as follows to the numbcrcd casts illustrated | | rclicfs correspond as follows to the numbcrcd casts illustrated |
| in I . Ma+den, John Henning 1771-1851.. t. . . a TJery ingeniotts | | in I . Ma+den, John Henning 1771-1851.. t. . . a TJery ingeniotts |
| A4lode//Gr' ( Renfrew District Council and Art Galleries, Paisley, | | A4lode//Gr' ( Renfrew District Council and Art Galleries, Paisley, |
| 1977), unpagivated: (¢) with number 8 (and (¢) is also | | 1977), unpagivated: (¢) with number 8 (and (¢) is also |
| scratched with an 8); (4) with numbers 9 and 10; (c) with the | | scratched with an 8); (4) with numbers 9 and 10; (c) with the |
| unnumbered first section; (d) with numbers 13 and 14, but | | unnumbered first section; (d) with numbers 13 and 14, but |
| more complete; (c) with the third piece down; (/) with | | more complete; (c) with the third piece down; (/) with |
| numbers 11 and 12; ®) with part of number 18 and with | | numbers 11 and 12; ®) with part of number 18 and with |
| number 19; (A) with number 18; (¢.) with number 20. The | | number 19; (A) with number 18; (¢.) with number 20. The |
| order in which the reliefs have bccn catalogucd here | | order in which the reliefs have bccn catalogucd here |
| corresponds with that in which they wcrc framed in the last | | corresponds with that in which they wcrc framed in the last |
| century. It is clear that it is most unlikely to reflect an | | century. It is clear that it is most unlikely to reflect an |
| arrangement made by Henning or by anyone familiar with | | arrangement made by Henning or by anyone familiar with |
| the display in the British Museum. | | the display in the British Museum. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| | | @@PROCESS |
| 103 | | 103 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| After designs by Thomas HOPE ( 1769-1831 ) | | After designs by Thomas HOPE ( 1769-1831 ) |
| n | | n | @@PROCESS |
| 522 and 523. Pair of hall tables | | 522 and 523. Pair of hall tables |
| ( only one illustrated) | | ( only one illustrated) |
| 79.5 cms. (height); 62.4 cms. (width of supports); 2.6 cms. | | 79.5 cms. (height); 62.4 cms. (width of supports); 2.6 cms. |
| (height of slabs); 133.6 cms. (length of slabs); 64.8 cms. (width | | (height of slabs); 133.6 cms. (length of slabs); 64.8 cms. (width |
| of slabs) | | of slabs) |
| Mahogany. The `marble' slab is of green porphyry. The cross rail is | | Mahogany. The `marble' slab is of green porphyry. The cross rail is |
| a later addition. Some of the relief ornament on the scroll-shaped | | a later addition. Some of the relief ornament on the scroll-shaped |
| supports is applied*.g. the palmctte above and the honeysuckle | | supports is applied*.g. the palmctte above and the honeysuckle |
| below, also the innermost relief lines-and pieces of this have been | | below, also the innermost relief lines-and pieces of this have been |
| replaced. The tables are placed upon modern marquetry plinths. | | replaced. The tables are placed upon modern marquetry plinths. |
| Bought at The Deepdene Sale, Christie's, July-August 1917, lot | | Bought at The Deepdene Sale, Christie's, July-August 1917, lot |
| n | | n | @@PROCESS |
| 827, for £50. The tables were designed by Thomas Hope before | | 827, for £50. The tables were designed by Thomas Hope before |
| 1807, probably first employed in Duchess Street, IJ)ndon, and | | 1807, probably first employed in Duchess Street, IJ)ndon, and |
| subsequently moved to The Deepdene near Dorking (acquired by | | subsequently moved to The Deepdene near Dorking (acquired by |
| Hope in May 1807 and extensively redecorated over the fouowing | | Hope in May 1807 and extensively redecorated over the fouowing |
| fifteen years). | | fifteen years). |
| ThorrL2Ls Hope:' s Household Fttrmitt4re and 17iterior | | ThorrL2Ls Hope:' s Household Fttrmitt4re and 17iterior |
| DGco7t¢f¢.a", published on I May 1807, recorded the furniture | | DGco7t¢f¢.a", published on I May 1807, recorded the furniture |
| which he had had made for his house in Duchess Street-a | | which he had had made for his house in Duchess Street-a |
| house which was also a museum and in which he hoped that | | house which was also a museum and in which he hoped that |
| the `entire assemblagc' of the `productions of ancient art and | | the `entire assemblagc' of the `productions of ancient art and |
| of modern handicraft' would b€ harmonious (ibid. 34). The | | of modern handicraft' would b€ harmonious (ibid. 34). The |
| furniture was therefore modelled on antique Egyptian, Greek, | | furniture was therefore modelled on antique Egyptian, Greek, |
| and Roman examples. In this case the mahogany is treated | | and Roman examples. In this case the mahogany is treated |
| much as the Romans treated a dark marble such as roj:fo ¢„f¢.co. | | much as the Romans treated a dark marble such as roj:fo ¢„f¢.co. |
| And indeed the chief source for the design ofthc scrou supports | | And indeed the chief source for the design ofthc scrou supports |
| with lion's paw feet must be the ancient bath made of this | | with lion's paw feet must be the ancient bath made of this |
| material known as the tomb of Marcus Agrippa, long visible | | material known as the tomb of Marcus Agrippa, long visible |
| in the portico of the I'anthcon, but incorporated in the 1730s | | in the portico of the I'anthcon, but incorporated in the 1730s |
| into the tomb of Pope Clement XII in the Corsini Chapel in | | into the tomb of Pope Clement XII in the Corsini Chapel in |
| the Basilica of SS Giovanni e Paolo. This had already inspired | | the Basilica of SS Giovanni e Paolo. This had already inspired |
| not only numerous sarcophagi but the severe modern benches | | not only numerous sarcophagi but the severe modern benches |
| dc§igncd by Robert Adam for the mausoleum at Bowood in | | dc§igncd by Robert Adam for the mausoleum at Bowood in |
| the early 1760s. Another source may have been the rt)JJo | | the early 1760s. Another source may have been the rt)JJo |
| ¢"£2.co bath chair in S. Giovanni in Laterano, Rome | | ¢"£2.co bath chair in S. Giovanni in Laterano, Rome |
| (presumably the `red marble throne in the Vatican' to which | | (presumably the `red marble throne in the Vatican' to which |
| DaiNid`Nairkin rofcrs in Thomas Hope and the Nco-classical | | DaiNid`Nairkin rofcrs in Thomas Hope and the Nco-classical |
| Jde¢ (I.ondon, 1968), 200). It would sccm unlikely, however, | | Jde¢ (I.ondon, 1968), 200). It would sccm unlikely, however, |
| that these antique sources were the only inspiration for Hopc's | | that these antique sources were the only inspiration for Hopc's |
| design. Such scroll-shaped supports were also popular for | | design. Such scroll-shaped supports were also popular for |
| Florentine tables of the mid-sixteenth century (a fine example | | Florentine tables of the mid-sixteenth century (a fine example |
| was in the Bardini Collection and another is in the Leipzig | | was in the Bardini Collection and another is in the Leipzig |
| Museum, both illustrated in F. Schottmuller, I owob¢./¢. G | | Museum, both illustrated in F. Schottmuller, I owob¢./¢. G |
| l'abitaeione del Rina§cimento in Italia (S"ttgart, L928), | | l'abitaeione del Rina§cimento in Italia (S"ttgart, L928), |
| pis. 300 and 308, pp.133 and 137). Furthcrmorc earlier neo-classical | | pis. 300 and 308, pp.133 and 137). Furthcrmorc earlier neo-classical |
| dcsigncrs had revived this type of table. C. Percier | | dcsigncrs had revived this type of table. C. Percier |
| and P. L. Fontainc's Rcc#c¢./ def de'cor¢fG.o„j (Paris, 1801 ) | | and P. L. Fontainc's Rcc#c¢./ def de'cor¢fG.o„j (Paris, 1801 ) |
| includes a very similar table in the perspective of the bedroom | | includes a very similar table in the perspective of the bedroom |
| of Citizen V. | | of Citizen V. |
| The green Egyptian poaphyry of which the slabs are | | The green Egyptian poaphyry of which the slabs are |
| composed is a rare antique material, with a sombre beauty | | composed is a rare antique material, with a sombre beauty |
| appropriate to Hopc's scvcrc taste, which he must have | | appropriate to Hopc's scvcrc taste, which he must have |
| acquired from Rome where they had no doubt been cut from | | acquired from Rome where they had no doubt been cut from |
| n | | n | @@PROCESS |
| 104 | | 104 |
| the ccntrc of a column shaft (for an account of this stone see | | the ccntrc of a column shaft (for an account of this stone see |
| R Gnoli, A4:¢7'7¢¢o7i¢ Ro7"¢„¢ (Rome,1971 ),108-9). | | R Gnoli, A4:¢7'7¢¢o7i¢ Ro7"¢„¢ (Rome,1971 ),108-9). |
| If the line engravings in Ho#£efo/d F#r"¢.f#yc which | | If the line engravings in Ho#£efo/d F#r"¢.f#yc which |
| published these tables are reliable (pl. 12, nos. 6 and 7) then | | published these tables are reliable (pl. 12, nos. 6 and 7) then |
| the tables origivally stood on plinths higher than those with | | the tables origivally stood on plinths higher than those with |
| which they are at present provided, and there was no stretcher | | which they are at present provided, and there was no stretcher |
| between the supporting members: indeed the space below the | | between the supporting members: indeed the space below the |
| table was occupied by one of the larger Greek vases in Hope's | | table was occupied by one of the larger Greek vases in Hope's |
| collection. The oriSnal absence of a stretcher may rcflcct the | | collection. The oriSnal absence of a stretcher may rcflcct the |
| designer's lack of practical experience, neglecting to take the | | designer's lack of practical experience, neglecting to take the |
| weight of the slab into account. In his preface Hope mentions | | weight of the slab into account. In his preface Hope mentions |
| that in the `vast metropolis' of I.ondon so `teeming with | | that in the `vast metropolis' of I.ondon so `teeming with |
| artificcrs' he had met with hardly any craftsmen capable of | | artificcrs' he had met with hardly any craftsmen capable of |
| executing his ideas rchably: he cites a French bronzist, Decaix, | | executing his ideas rchably: he cites a French bronzist, Decaix, |
| and a carver from the Ijow Countries, Bogaert, however, and | | and a carver from the Ijow Countries, Bogaert, however, and |
| conceivably the table was made in the latter's workshop. | | conceivably the table was made in the latter's workshop. |
| C. F. Bell bought the tables for use in the galleries and they | | C. F. Bell bought the tables for use in the galleries and they |
| were fitted, probably under his Kcepership, with brass-framed | | were fitted, probably under his Kcepership, with brass-framed |
| glass cases made by the firm of Frederick Sage and Company | | glass cases made by the firm of Frederick Sage and Company |
| in which a sclcction of the Fortnum bronzes were long | | in which a sclcction of the Fortnum bronzes were long |
| displayed. These cases were removed in 1986. Bell mentioned | | displayed. These cases were removed in 1986. Bell mentioned |
| in the A""„¢/ RGPo77 ( 1917: 6J9) that the tables would | | in the A""„¢/ RGPo77 ( 1917: 6J9) that the tables would |
| provide `hints' for the making of appropriate new fumiturc | | provide `hints' for the making of appropriate new fumiturc |
| for the galleries. They must indccd have inspired the oak | | for the galleries. They must indccd have inspired the oak |
| cases with scroll legs now employed for displaying drawings | | cases with scroll legs now employed for displaying drawings |
| in the Combe Gallery (acquired in 1988 from the Taylor | | in the Combe Gallery (acquired in 1988 from the Taylor |
| Library, to whom they had been transferred from the Bodleian | | Library, to whom they had been transferred from the Bodleian |
| Library who had obtained them from the Department of | | Library who had obtained them from the Department of |
| Antiquities to which they had migrated from the Department | | Antiquities to which they had migrated from the Department |
| of Fine Art for which they were origivally made under Bell's | | of Fine Art for which they were origivally made under Bell's |
| directions). | | directions). |
| In addition to the two tables, Bell acquired from The | | In addition to the two tables, Bell acquired from The |
| Decpdcne sale (as lot 919) four sabre leg chairs with lyre-shaped | | Decpdcne sale (as lot 919) four sabre leg chairs with lyre-shaped |
| splats, in `bois clair' with honeysuckle and other | | splats, in `bois clair' with honeysuckle and other |
| stylized inlay, also made to Hope's designs (Appendix 2, nos. | | stylized inlay, also made to Hope's designs (Appendix 2, nos. |
| 68-71 ). In 1953 Lady Henriques bequeathed to the Museum | | 68-71 ). In 1953 Lady Henriques bequeathed to the Museum |
| a large group of furniture which included a massive sideboard, | | a large group of furniture which included a massive sideboard, |
| n | | n | @@PROCESS |
| 298 cms. long, of solid mahogany with four ormolu wreaths | | 298 cms. long, of solid mahogany with four ormolu wreaths |
| on a frieze above four cabriole legs with hon's paws, reedcd | | on a frieze above four cabriole legs with hon's paws, reedcd |
| anklets, and honeysuckle ornaments on the `knees' which was | | anklets, and honeysuckle ornaments on the `knees' which was |
| one of a pair made for Gloucester House, Park I.arc, the | | one of a pair made for Gloucester House, Park I.arc, the |
| Ijondon home of the duke of Cambridge (the pair, belongivg | | Ijondon home of the duke of Cambridge (the pair, belongivg |
| to the testator's sister, was destroyed in the Blitz). This, | | to the testator's sister, was destroyed in the Blitz). This, |
| although not designed by Hope, is close in style to the | | although not designed by Hope, is close in style to the |
| furniture of Duchess Strcct (Appendix 2, no. 73). | | furniture of Duchess Strcct (Appendix 2, no. 73). |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Probably foundry of samuel Packer,12 Argyll Place, Ijondon | | Probably foundry of samuel Packer,12 Argyll Place, Ijondon |
| After Samuel JOSEPH ( 1791-1850) | | After Samuel JOSEPH ( 1791-1850) |
| n | | n | @@PROCESS |
| 524. High-relief bust portrait of sir | | 524. High-relief bust portrait of sir |
| Walter Scott | | Walter Scott |
| 21.4 cms. (height of bust); 25.5 cms. (diameter of backplate) | | 21.4 cms. (height of bust); 25.5 cms. (diameter of backplate) |
| Bronze with a very dark slightly olive patina. The bust is hollow cast | | Bronze with a very dark slightly olive patina. The bust is hollow cast |
| and soldered to the backplate. `SIRWALTER SCoTT' is chiselled in | | and soldered to the backplate. `SIRWALTER SCoTT' is chiselled in |
| capital letters beneath the bust on the plate ground. On the reverse | | capital letters beneath the bust on the plate ground. On the reverse |
| of the plate is engraved in very florid letters `S. Joseph RS.A. | | of the plate is engraved in very florid letters `S. Joseph RS.A. |
| Sculpsit. / 1822 / Publishq 1830.' | | Sculpsit. / 1822 / Publishq 1830.' |
| The bronze is kept in the Hebcrden Coin Room as part of the | | The bronze is kept in the Hebcrden Coin Room as part of the |
| collection purchased from Colonel Michael H. Grant in 1953. It is | | collection purchased from Colonel Michael H. Grant in 1953. It is |
| included in his manuscript catalogue on p.156. | | included in his manuscript catalogue on p.156. |
| Joseph was a foundation member of the Royal Scottish | | Joseph was a foundation member of the Royal Scottish |
| Academy: hence the RSA. The bust of Scott dates from the | | Academy: hence the RSA. The bust of Scott dates from the |
| year of his move to Edinburgh in 1822. A bust by him of | | year of his move to Edinburgh in 1822. A bust by him of |
| Scott (character and medium unrecorded) is said to be at | | Scott (character and medium unrecorded) is said to be at |
| Preston Hall, near Edinburgh, and to be dated 1825 (R. | | Preston Hall, near Edinburgh, and to be dated 1825 (R. |
| Gunnis, Dictionary Of British Sculptors (-Icondon, +968) 222). | | Gunnis, Dictionary Of British Sculptors (-Icondon, +968) 222). |
| By 1830 Joseph had returned to Ijondon. The attribution of | | By 1830 Joseph had returned to Ijondon. The attribution of |
| the cast to Parker's foundry depends upon its similarity to | | the cast to Parker's foundry depends upon its similarity to |
| No. 525 which may well have been intended as a companion | | No. 525 which may well have been intended as a companion |
| (Mackenzie and Scott being the most eminent Scottish | | (Mackenzie and Scott being the most eminent Scottish |
| authors of the day). | | authors of the day). |
| n | | n | @@PROCESS |
| 106 | | 106 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry of samuel Parker,12 Argyll Place, London | | Foundry of samuel Parker,12 Argyll Place, London |
| After Samuel JOSEPH (1791-1850) | | After Samuel JOSEPH (1791-1850) |
| n | | n | @@PROCESS |
| 525. High-relief bust portrait of | | 525. High-relief bust portrait of |
| Henry Mackenzie | | Henry Mackenzie |
| 20.5 cms. (height of bust); 25.5 cms. (diameter of backplatc) | | 20.5 cms. (height of bust); 25.5 cms. (diameter of backplatc) |
| Bronze with a very dark slightly olive patina. The bust is hollow cast | | Bronze with a very dark slightly olive patina. The bust is hollow cast |
| and soldered to the backplatc. There are small firing cracks in the | | and soldered to the backplatc. There are small firing cracks in the |
| lower part of the neck and minor scratches to the back plate. `HENRy | | lower part of the neck and minor scratches to the back plate. `HENRy |
| MACKENZIE' is chise[led in capital letters beneath the bust on the | | MACKENZIE' is chise[led in capital letters beneath the bust on the |
| plate ground. On the reverse of the plate are engraved in neat capital | | plate ground. On the reverse of the plate are engraved in neat capital |
| letters: `SAML JOSEPH SCULPSIT / S. PARKER FECIT XIT ARGYLL | | letters: `SAML JOSEPH SCULPSIT / S. PARKER FECIT XIT ARGYLL |
| PIACE / PUBLISHD / AS THE ACT DIRECTS / LONDON FEBY | | PIACE / PUBLISHD / AS THE ACT DIRECTS / LONDON FEBY |
| VI. / MDCCCXXX' . | | VI. / MDCCCXXX' . |
| The bronze is kept in the Heberden Coin Room as part of the | | The bronze is kept in the Heberden Coin Room as part of the |
| collection of medals purchased from Colonel Michael H. Grant in | | collection of medals purchased from Colonel Michael H. Grant in |
| 1953. It is included in his catalogue on p.153. | | 1953. It is included in his catalogue on p.153. |
| There is a bust of the Scottish novelist and man of letters | | There is a bust of the Scottish novelist and man of letters |
| Henry Mackenzic ( 1745-1831 ) by Joseph at the Scottish | | Henry Mackenzic ( 1745-1831 ) by Joseph at the Scottish |
| National Portrait Gallery which is dated 1822 (R. Gunnis, | | National Portrait Gallery which is dated 1822 (R. Gunnis, |
| Dictionary Of British Sculptors (London, ±968), 222) .I+ is | | Dictionary Of British Sculptors (London, ±968), 222) .I+ is |
| similar to this but undrapcd and differently cut at the | | similar to this but undrapcd and differently cut at the |
| shoulders. By 1825 a bust of Mackenzie by Joseph belonged | | shoulders. By 1825 a bust of Mackenzie by Joseph belonged |
| to Sir Walter Scott at Abbotsford (C. Wainwright, 777c | | to Sir Walter Scott at Abbotsford (C. Wainwright, 777c |
| Ro7„¢#£¢.c J»£Gr¢.or (London and New Haven, Conn.,1989), | | Ro7„¢#£¢.c J»£Gr¢.or (London and New Haven, Conn.,1989), |
| n | | n | @@PROCESS |
| 190). 1822 is also the year in which Joseph exhibited a `model | | 190). 1822 is also the year in which Joseph exhibited a `model |
| for a bust to be worked in marble' of Mackenzie at the Royal | | for a bust to be worked in marble' of Mackenzie at the Royal |
| Academy (no.1044). The portrait of scott reproduced in a | | Academy (no.1044). The portrait of scott reproduced in a |
| simhar bronze cast which is also dated 1830 (No. 524) | | simhar bronze cast which is also dated 1830 (No. 524) |
| perhaps also originated in a model of 1822. Little is known | | perhaps also originated in a model of 1822. Little is known |
| of the bronze founder Packer. He was paid in 1822 for a | | of the bronze founder Packer. He was paid in 1822 for a |
| sumptuous chimney-piece in the Royal Pavilion, now at | | sumptuous chimney-piece in the Royal Pavilion, now at |
| Buckingham Palace, involving ormolu enrichments and | | Buckingham Palace, involving ormolu enrichments and |
| Chinese figures of painted metal (Gunnis, op. cit. 291 ). His | | Chinese figures of painted metal (Gunnis, op. cit. 291 ). His |
| smau bronze herm busts of I.ord Brougham and William IV | | smau bronze herm busts of I.ord Brougham and William IV |
| both published in 1831 are in the National Portrait Gallcry-another | | both published in 1831 are in the National Portrait Gallcry-another |
| version of the latter was lot I, Christie's, London, 5 | | version of the latter was lot I, Christie's, London, 5 |
| May 1988. | | May 1988. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Samuel JOSEPH ( 1791-1850) | | Samuel JOSEPH ( 1791-1850) |
| n | | n | @@PROCESS |
| 526. Sir David Wilkie | | 526. Sir David Wilkie |
| 68 cms. (height, including plinth) | | 68 cms. (height, including plinth) |
| Plaster of Paris, coated with shellac and grey paint. Hollow cast. | | Plaster of Paris, coated with shellac and grey paint. Hollow cast. |
| The paint has flaked in some areas, most notably on the proper | | The paint has flaked in some areas, most notably on the proper |
| right foot and the front of the plinth. A part of the palette has been | | right foot and the front of the plinth. A part of the palette has been |
| broken off and refixed but small chips are missing. There is another | | broken off and refixed but small chips are missing. There is another |
| break diagonally across the plinth from beside the proper right foot | | break diagonally across the plinth from beside the proper right foot |
| to the centre of the back. | | to the centre of the back. |
| Presented in 1952 by Sir Malcolm Darling of 42 Catherine Place, | | Presented in 1952 by Sir Malcolm Darling of 42 Catherine Place, |
| Ijondon Swl. Registered on 16 April. It was probably inherited | | Ijondon Swl. Registered on 16 April. It was probably inherited |
| from the donor's grandfather Dr George Darling (d.1862), who | | from the donor's grandfather Dr George Darling (d.1862), who |
| counted Wilkie and other artists (among them Haydon, I.awrence, | | counted Wilkie and other artists (among them Haydon, I.awrence, |
| and Chantrey) among his ffiends and patients. | | and Chantrey) among his ffiends and patients. |
| Joseph exhibited a posthumous marble bust of wilkic, a fellow | | Joseph exhibited a posthumous marble bust of wilkic, a fellow |
| Scot, at the Royal Academy exhibition of 1843 (no.1515). | | Scot, at the Royal Academy exhibition of 1843 (no.1515). |
| This is now in the Scottish National Portrait Gallery | | This is now in the Scottish National Portrait Gallery |
| (no.1220). In the following year the colossal bronze statue | | (no.1220). In the following year the colossal bronze statue |
| of wilkic by him was presented by subscribers to the National | | of wilkic by him was presented by subscribers to the National |
| Gallery-this was transferred to the Tate Gallery (no.1764) | | Gallery-this was transferred to the Tate Gallery (no.1764) |
| where it is in store. The commission for this bronze is | | where it is in store. The commission for this bronze is |
| dcscribcd in an appendix to Alan Cunningham's I,¢re a/S¢.7' | | dcscribcd in an appendix to Alan Cunningham's I,¢re a/S¢.7' |
| D¢p¢.¢ WG./fe;c (I.ondon,1843), iii. 516-23. He quotes from | | D¢p¢.¢ WG./fe;c (I.ondon,1843), iii. 516-23. He quotes from |
| the 44lo7w¢.#g C¢ro"¢.c/;s account of the meeting on 28 August | | the 44lo7w¢.#g C¢ro"¢.c/;s account of the meeting on 28 August |
| 1841 at the Thatched House Tavern at which a committee | | 1841 at the Thatched House Tavern at which a committee |
| was fomed to erect a monument. Cunningham was | | was fomed to erect a monument. Cunningham was |
| appointed secretary. A footnote on p. 523 informs us that `at | | appointed secretary. A footnote on p. 523 informs us that `at |
| a subsequent meeting Mr S. Joseph, not without opposition, | | a subsequent meeting Mr S. Joseph, not without opposition, |
| was selcctcd to execute the statue, the trustees of the National | | was selcctcd to execute the statue, the trustees of the National |
| Gallery having consented to its erection in their entrance | | Gallery having consented to its erection in their entrance |
| hall'. The plaster probably records the prclininary clay model | | hall'. The plaster probably records the prclininary clay model |
| made for the committee's approval. | | made for the committee's approval. |
| REiH±HI | | REiH±HI |
| n | | n | @@PROCESS |
| 108 | | 108 |
| Eric RENNINGTON RA ( i888-1960) | | Eric RENNINGTON RA ( i888-1960) |
| n | | n | @@PROCESS |
| 527. Head from the portrait of | | 527. Head from the portrait of |
| Thomas Hardy | | Thomas Hardy |
| 31 cms. (height) | | 31 cms. (height) |
| Bronze with a chestnut patina rubbed to a yellow brown in the | | Bronze with a chestnut patina rubbed to a yellow brown in the |
| eyebrows and on the bridge of the nose. Hollow, lost-wax, cast. | | eyebrows and on the bridge of the nose. Hollow, lost-wax, cast. |
| Given by the artist at an unrecorded date. | | Given by the artist at an unrecorded date. |
| The portrait is cut off uncompromisingly at the shirt collar to | | The portrait is cut off uncompromisingly at the shirt collar to |
| emphasize that it is a fragment of a full-length statue. It must | | emphasize that it is a fragment of a full-length statue. It must |
| indeed bc cast from the same model as the statue of Hardy | | indeed bc cast from the same model as the statue of Hardy |
| unveiled on Sunday 2 September 1931 at Top o' Town, | | unveiled on Sunday 2 September 1931 at Top o' Town, |
| Dorchestcr, by Sir James Barrie, a work erected by public | | Dorchestcr, by Sir James Barrie, a work erected by public |
| subscription ( supported by the mayor of Dorchester, | | subscription ( supported by the mayor of Dorchester, |
| Alderman Wilfrid F. Hodges, with a committee chaircd by | | Alderman Wilfrid F. Hodges, with a committee chaircd by |
| the countess of Ilchestcr). Kennington was at this date at the | | the countess of Ilchestcr). Kennington was at this date at the |
| height of his fame, having excited attention with his war | | height of his fame, having excited attention with his war |
| memorial erected in Battersea Park in 1924, and obtained | | memorial erected in Battersea Park in 1924, and obtained |
| the commission for allegorical scenes on the fa€ade of the | | the commission for allegorical scenes on the fa€ade of the |
| Royal Shakespeare Theatre at Stratford-upon-Avon, a work | | Royal Shakespeare Theatre at Stratford-upon-Avon, a work |
| upon which he was engaged between 1928 and 1932. | | upon which he was engaged between 1928 and 1932. |
| Kennington had placed a plaster cast of his recumbent effigy | | Kennington had placed a plaster cast of his recumbent effigy |
| of Lawrence of Arabia for St Martin's, Wareham, on | | of Lawrence of Arabia for St Martin's, Wareham, on |
| temporary loan in the Museum during the winter of 1939 | | temporary loan in the Museum during the winter of 1939 |
| (A„""a/ Rcpo77, 36). Ion Robcrtson applied in vain to the | | (A„""a/ Rcpo77, 36). Ion Robcrtson applied in vain to the |
| National Art-Collections Fund in October 1963 for funds to | | National Art-Collections Fund in October 1963 for funds to |
| purchase, from the Leicester Gallery, a bronze cast (one of | | purchase, from the Leicester Gallery, a bronze cast (one of |
| an edition of 12) of a maquette for the same effigy. | | an edition of 12) of a maquette for the same effigy. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| A. KENRICK (dates unknown) | | A. KENRICK (dates unknown) |
| n | | n | @@PROCESS |
| 528. Profile medallion head of | | 528. Profile medallion head of |
| Queen Victoria | | Queen Victoria |
| 24.5 cms. (height); 38.5 cms. (diameter of backplate) | | 24.5 cms. (height); 38.5 cms. (diameter of backplate) |
| The head is of iron with a slightly rusty surface. It is a heavy sand-cast, | | The head is of iron with a slightly rusty surface. It is a heavy sand-cast, |
| probably hollow on the reverse. The head is bolted to a | | probably hollow on the reverse. The head is bolted to a |
| polished bronze backplate with a high polish which has been slightly | | polished bronze backplate with a high polish which has been slightly |
| scratched. This has bccn coarsely palntcd in large black capitals on | | scratched. This has bccn coarsely palntcd in large black capitals on |
| its reverse `BY / A. KENRICK / BIRM: ' . | | its reverse `BY / A. KENRICK / BIRM: ' . |
| The sculpture is kept in the Heberden Coin Room as part of the | | The sculpture is kept in the Heberden Coin Room as part of the |
| collection of colonel Michael H. Grant, purchased in 1953. | | collection of colonel Michael H. Grant, purchased in 1953. |
| In Britain during the nineteenth century there were numerous | | In Britain during the nineteenth century there were numerous |
| attempts at casting in iron sculpture which would normally | | attempts at casting in iron sculpture which would normally |
| have been reproduced in bronze, but few of these casts even | | have been reproduced in bronze, but few of these casts even |
| approached the quality associated with the royal foundry in | | approached the quality associated with the royal foundry in |
| Berlin and certainly this portrait, presumably dating from the | | Berlin and certainly this portrait, presumably dating from the |
| last three decades of the century (to judge by the appearance | | last three decades of the century (to judge by the appearance |
| of the queen), is as dull as a cast as it is routine as a model. | | of the queen), is as dull as a cast as it is routine as a model. |
| It is dated to 1887 in Grant's manuscript catalogue (p.185). | | It is dated to 1887 in Grant's manuscript catalogue (p.185). |
| n | | n | @@PROCESS |
| 109 | | 109 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Bryan ENEALE (b.1930) | | Bryan ENEALE (b.1930) |
| n | | n | @@PROCESS |
| 529. Trio | | 529. Trio |
| 15.I cms. (length) | | 15.I cms. (length) |
| Bronze with a mottled brown to yellow patina. Unique solid cast, | | Bronze with a mottled brown to yellow patina. Unique solid cast, |
| sawn and reassembled. The cut surfaces retain the tcxturc of the | | sawn and reassembled. The cut surfaces retain the tcxturc of the |
| saw. The curved outer surfaces retain evidence of the rotatory | | saw. The curved outer surfaces retain evidence of the rotatory |
| polisher. Stanpcd `B.K.' in an irregular portion of inserted metal | | polisher. Stanpcd `B.K.' in an irregular portion of inserted metal |
| on the outside of the smallest of the three principal pieces. | | on the outside of the smallest of the three principal pieces. |
| From the collection of Christopher Hewett ( 1938-83). Given to | | From the collection of Christopher Hewett ( 1938-83). Given to |
| the museum by his family in June 1985 and included in the | | the museum by his family in June 1985 and included in the |
| exhibition celebrating the Sft held in the MCAlpinc Gallery in January | | exhibition celebrating the Sft held in the MCAlpinc Gallery in January |
| and February 1987. Kneale had exhibited nineteen sculptures at the | | and February 1987. Kneale had exhibited nineteen sculptures at the |
| Taranman Gallery in June and July 1977. | | Taranman Gallery in June and July 1977. |
| Kneale stopped work as a painter in 1959 and, after learning | | Kneale stopped work as a painter in 1959 and, after learning |
| to weld, moved to a forge in Fulham in 1960, and began to | | to weld, moved to a forge in Fulham in 1960, and began to |
| make abstract sculpture, working directly and with the latest | | make abstract sculpture, working directly and with the latest |
| technology in stccl, and subsequently brass, gunmetal, and | | technology in stccl, and subsequently brass, gunmetal, and |
| bronze. Notes made at the time the Hewett Collection was | | bronze. Notes made at the time the Hewett Collection was |
| first discussed dated this work to 1979. There is an instructive | | first discussed dated this work to 1979. There is an instructive |
| interview between the artist and Bryan Robertson pubhshed | | interview between the artist and Bryan Robertson pubhshed |
| in the catalogue of the exhibition Bry&# KceG¢/G.. Sc#/Pf#7icf | | in the catalogue of the exhibition Bry&# KceG¢/G.. Sc#/Pf#7icf |
| J959-j966 at the Whitcchapel Art Gallery 1966 and a profile | | J959-j966 at the Whitcchapel Art Gallery 1966 and a profile |
| of the sculptor by John Spurling entitled `Working from | | of the sculptor by John Spurling entitled `Working from |
| Within' appeared in RA, the magazine of the Friends of the | | Within' appeared in RA, the magazine of the Friends of the |
| Royal Academy (Sept. 1988), 27-8. | | Royal Academy (Sept. 1988), 27-8. |
| Ilo | | Ilo |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| LEEDS POTTERY (Hartley, Greens and Co. ) | | LEEDS POTTERY (Hartley, Greens and Co. ) |
| n | | n | @@PROCESS |
| 530 and 531. Pair of vase | | 530 and 531. Pair of vase |
| candlestands | | candlestands |
| 31.7cms. (height of both); 16.6cms. (length from nose to nose | | 31.7cms. (height of both); 16.6cms. (length from nose to nose |
| of hcrm maidens); 8.9 cms. (length and width of plinths) | | of hcrm maidens); 8.9 cms. (length and width of plinths) |
| Creamware with a glaze, which is green where gathered in the swags | | Creamware with a glaze, which is green where gathered in the swags |
| and at the top of the stems (especially on 530). Each vase was | | and at the top of the stems (especially on 530). Each vase was |
| assembled from five separately cast components before firing: the | | assembled from five separately cast components before firing: the |
| plinth (closed when inspected from below); the stem; the body of | | plinth (closed when inspected from below); the stem; the body of |
| the vase (made from two large and two small moulds-the smaller | | the vase (made from two large and two small moulds-the smaller |
| ones comprising the two maidens); the domed cover; the terminal | | ones comprising the two maidens); the domed cover; the terminal |
| ball knob. The wings of the maidens and the cinquefoil rosettes on | | ball knob. The wings of the maidens and the cinquefoil rosettes on |
| the projections of the comers of the plinth were separately modelled | | the projections of the comers of the plinth were separately modelled |
| and applied before firing. Each vase has two square slots behind the | | and applied before firing. Each vase has two square slots behind the |
| necks of the maidens. The aperture is approximately I cm. square | | necks of the maidens. The aperture is approximately I cm. square |
| and continues for about 3 cms. before entering the hollow body of | | and continues for about 3 cms. before entering the hollow body of |
| the base. There are minute chips missing from the end of the proper | | the base. There are minute chips missing from the end of the proper |
| left wings of one of the maidens on No. 531 and from one corner | | left wings of one of the maidens on No. 531 and from one corner |
| of the plinth of the other. There is a minute firing crack in the | | of the plinth of the other. There is a minute firing crack in the |
| cheek of one of the maidens on No. 531 and a crack in the neck of | | cheek of one of the maidens on No. 531 and a crack in the neck of |
| one of the maidens on the other. On both vases vestigial seams may | | one of the maidens on the other. On both vases vestigial seams may |
| be discerned on the stem and its base moulding and down the arms | | be discerned on the stem and its base moulding and down the arms |
| of the maidens. The vases are incised inside the plinths with a `1' | | of the maidens. The vases are incised inside the plinths with a `1' |
| (a slight tall attached) and a `6' (possibly a `9'). `C. /467/ G' and | | (a slight tall attached) and a `6' (possibly a `9'). `C. /467/ G' and |
| `C. / 468 / G' is written in black paint in both. | | `C. / 468 / G' is written in black paint in both. |
| I,cnt by C. D. E. Fortnum in October 1894 and bequeathed in | | I,cnt by C. D. E. Fortnum in October 1894 and bequeathed in |
| 1899. C. 467 and C. 468 in his catalogues. No provenance or date | | 1899. C. 467 and C. 468 in his catalogues. No provenance or date |
| of acquisition is given in his catalogues but the vases seem to have | | of acquisition is given in his catalogues but the vases seem to have |
| been acquired after 1857 when the preliminary catalogue, in which | | been acquired after 1857 when the preliminary catalogue, in which |
| they are not included, was compiled. | | they are not included, was compiled. |
| Fortnum regarded these vases as `Roman Volpato about 1800' | | Fortnum regarded these vases as `Roman Volpato about 1800' |
| although he was aware of a connection with a British ceramic | | although he was aware of a connection with a British ceramic |
| factory, noting in his large catalogue `The form is copied or | | factory, noting in his large catalogue `The form is copied or |
| adapted from a Chelsca modcl'. C. F. Bell annotating the | | adapted from a Chelsca modcl'. C. F. Bell annotating the |
| large catalogue observed that | | large catalogue observed that |
| the form, whatever its origin, was copied both at Derby-in | | the form, whatever its origin, was copied both at Derby-in |
| porcelain-nd at I,eeds in pottery. Sir Wollaston Franks did not | | porcelain-nd at I,eeds in pottery. Sir Wollaston Franks did not |
| feel sure that they were Italian, did not see any reason why they | | feel sure that they were Italian, did not see any reason why they |
| should not be English. The exact resemblance of the glaze, with | | should not be English. The exact resemblance of the glaze, with |
| the strongly marked greenish tinge visible where it has coagulated, | | the strongly marked greenish tinge visible where it has coagulated, |
| to that upon the group of st. Joseph is however in favour of these | | to that upon the group of st. Joseph is however in favour of these |
| having been made at Volpato's factory. | | having been made at Volpato's factory. |
| The resemblance to the Sf/ofcp¢ (No.107 and marked as by | | The resemblance to the Sf/ofcp¢ (No.107 and marked as by |
| Volpato) is indccd remarkable. `Professor Church', Bell | | Volpato) is indccd remarkable. `Professor Church', Bell |
| continues, `carefully examining (February 1903 ) the similar | | continues, `carefully examining (February 1903 ) the similar |
| vase in the V 8c A and yet another of the same pattern sold | | vase in the V 8c A and yet another of the same pattern sold |
| as Liverpool ware at Christic's (Feb. 27 1903) expressed a | | as Liverpool ware at Christic's (Feb. 27 1903) expressed a |
| decided opinion that they were of inferior quality, from a | | decided opinion that they were of inferior quality, from a |
| technical point of view, to English work giv were probably all | | technical point of view, to English work giv were probably all |
| of Roman manufacture.' Church was wrong, however, and | | of Roman manufacture.' Church was wrong, however, and |
| Bell, in his H¢»dhoofe G„¢.de of 1909 (p. 99), described the | | Bell, in his H¢»dhoofe G„¢.de of 1909 (p. 99), described the |
| vases as `probably English, Staffordshirc or Yorkshire make'. | | vases as `probably English, Staffordshirc or Yorkshire make'. |
| The vase in the Victoria and Albert Museum (838-1870), | | The vase in the Victoria and Albert Museum (838-1870), |
| Which matches the Ashmolean's vases in every respect except | | Which matches the Ashmolean's vases in every respect except |
| the green tinge to the daze, is marked LP for Leeds Pottery | | the green tinge to the daze, is marked LP for Leeds Pottery |
| and the model appears in the Lccdr Po#Gry P4r#Grce Boofe (first | | and the model appears in the Lccdr Po#Gry P4r#Grce Boofe (first |
| edition of 1783nd; no.116 in the edition of 1794), as well as | | edition of 1783nd; no.116 in the edition of 1794), as well as |
| in the albums of drawings kept by the pottery, as is recorded | | in the albums of drawings kept by the pottery, as is recorded |
| in the entry for the vase of this type (perhaps the one sold at | | in the entry for the vase of this type (perhaps the one sold at |
| Chistie.s .\n \903) .in the Catalo2que Of creammare and Other | | Chistie.s .\n \903) .in the Catalo2que Of creammare and Other |
| English Pottery at Tem2le Non!sam Hott§e, Ijeedsdy Pevf=[ | | English Pottery at Tem2le Non!sam Hott§e, Ijeedsdy Pevf=[ |
| Walton (Bradford and I.ondon, 1976), 126-7, no. 489. | | Walton (Bradford and I.ondon, 1976), 126-7, no. 489. |
| In none of the four recorded versions of the vase have the | | In none of the four recorded versions of the vase have the |
| slender S-curved branches of twisted form supporting fluted | | slender S-curved branches of twisted form supporting fluted |
| nozzles illustrated in the 1794 catalogue survived. They would | | nozzles illustrated in the 1794 catalogue survived. They would |
| have been fitted into the slots behind the winged maidens' | | have been fitted into the slots behind the winged maidens' |
| necks. Such fragile projections and the relative lightness of the | | necks. Such fragile projections and the relative lightness of the |
| supporting body make the whole conception somewhat | | supporting body make the whole conception somewhat |
| unsuitable for its purpose and strongly suggest its derivation | | unsuitable for its purpose and strongly suggest its derivation |
| from a model in stone and ormolu. The terminal maidens | | from a model in stone and ormolu. The terminal maidens |
| and indeed the band of anthemion suggest Slt ornaments | | and indeed the band of anthemion suggest Slt ornaments |
| applied to and apparently clasping a solid body of white | | applied to and apparently clasping a solid body of white |
| marble or blue-john. The idea of a vase which served also as | | marble or blue-john. The idea of a vase which served also as |
| a candlestand was very popular with Matthew Boulton and | | a candlestand was very popular with Matthew Boulton and |
| the ultimate source for these Leeds vases may well be the | | the ultimate source for these Leeds vases may well be the |
| `Caryatid Vases' in blue-john and ormolu which his Soho | | `Caryatid Vases' in blue-john and ormolu which his Soho |
| factory made in the early 1770s. The same form of handle is | | factory made in the early 1770s. The same form of handle is |
| used in Derby porcelain, most notably in the Gibraltar Vase | | used in Derby porcelain, most notably in the Gibraltar Vase |
| of c.1785, and on agate ware vases of chalice form impressed | | of c.1785, and on agate ware vases of chalice form impressed |
| `WEDGW00D'-xamples are in the Brighton Art Gallery | | `WEDGW00D'-xamples are in the Brighton Art Gallery |
| and Museum and in the City Art Gallery and Museum, | | and Museum and in the City Art Gallery and Museum, |
| Birmingham (2809.'85)-and on black basaltcs vases of | | Birmingham (2809.'85)-and on black basaltcs vases of |
| similar egg form, but not designed for candles, impressed | | similar egg form, but not designed for candles, impressed |
| `WEDGWOOD AND BENTLEY'-xamples are also in | | `WEDGWOOD AND BENTLEY'-xamples are also in |
| Birmingham ( 1761.'80 and 2746.'85). | | Birmingham ( 1761.'80 and 2746.'85). |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| | | @@PROCESS |
| 112 | | 112 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Unknown foundry | | Unknown foundry |
| After Frederick, I.ord LEIGHTON, PRA ( 1830-96) | | After Frederick, I.ord LEIGHTON, PRA ( 1830-96) |
| n | | n | @@PROCESS |
| 532. Athlete stniggling with a | | 532. Athlete stniggling with a |
| python | | python |
| 54.3 cms. (height including integral bronze plinth); 4.5 cms. | | 54.3 cms. (height including integral bronze plinth); 4.5 cms. |
| (height of plinth); 29.5 cms. (length of plinth); 20.7 cms. (width | | (height of plinth); 29.5 cms. (length of plinth); 20.7 cms. (width |
| of plinth) | | of plinth) |
| Bronze with a dark green and brown patina. Hollow, sand-cast. No | | Bronze with a dark green and brown patina. Hollow, sand-cast. No |
| joins are apparent. `F. LEIGHTON 1877' is chiselled on the proper | | joins are apparent. `F. LEIGHTON 1877' is chiselled on the proper |
| left face of the bronze plinth. | | left face of the bronze plinth. |
| Bequeathed by the Revd J. W. R Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R Brocklebank in November 1926. |
| No. 33 in the receipt prepared by Andrew Shirley in January 1927, | | No. 33 in the receipt prepared by Andrew Shirley in January 1927, |
| as `Hercules struggling with a Cobra'. | | as `Hercules struggling with a Cobra'. |
| It is not certain when I.cighton began to make small clay | | It is not certain when I.cighton began to make small clay |
| skctchcs in preparation for his large figure compositions, but | | skctchcs in preparation for his large figure compositions, but |
| the group of studies for his painting D#phacp4ori¢ (Ledy | | the group of studies for his painting D#phacp4ori¢ (Ledy |
| Ijcver Art Gallery, Port Sunlight) of 1874nd arc the earliest | | Ijcver Art Gallery, Port Sunlight) of 1874nd arc the earliest |
| sculptures by him to have survived. The idea of this figure of | | sculptures by him to have survived. The idea of this figure of |
| the A£4/GfG is said to have come to him at that date-perhaps | | the A£4/GfG is said to have come to him at that date-perhaps |
| with the heroic nude male struggling with snakes in the | | with the heroic nude male struggling with snakes in the |
| foreground of Titian's B¢cc¢G¢f ¢»¢ Ar¢.¢¢„c in the National | | foreground of Titian's B¢cc¢G¢f ¢»¢ Ar¢.¢¢„c in the National |
| Gallery half in mind. He made a sketch about 9± inches high | | Gallery half in mind. He made a sketch about 9± inches high |
| of which several casts in plaster and bronze survive (one such | | of which several casts in plaster and bronze survive (one such |
| in plaster is in the Victoria and Albert Museum, A. 38-1954). | | in plaster is in the Victoria and Albert Museum, A. 38-1954). |
| Jules Dalou (see Nos. 269-73) who had suddenly shot to | | Jules Dalou (see Nos. 269-73) who had suddenly shot to |
| fame in England encouraged Leighton to execute the figure | | fame in England encouraged Leighton to execute the figure |
| life-size. The model was prepared over the winter of 1874- | | life-size. The model was prepared over the winter of 1874- |
| 5, using Angelo Colorossi as model, in the studio of Thomas | | 5, using Angelo Colorossi as model, in the studio of Thomas |
| Brock, a protege of Leighton, who gave some assistance. This | | Brock, a protege of Leighton, who gave some assistance. This |
| large version was cast in bronze in December 1876 and | | large version was cast in bronze in December 1876 and |
| exhibited at the Royal Academy in the following summer | | exhibited at the Royal Academy in the following summer |
| when it was purchased for the Tate Gallery out of the Chantrey | | when it was purchased for the Tate Gallery out of the Chantrey |
| Bequest (No.1754, on loan to Leighton House). The bronze | | Bequest (No.1754, on loan to Leighton House). The bronze |
| was shown at the International Exhibition in Paris in 1878 | | was shown at the International Exhibition in Paris in 1878 |
| and awarded a Gold Medal. A marble version of the origival | | and awarded a Gold Medal. A marble version of the origival |
| plaster was presented to the Royal Academy in 1886. The | | plaster was presented to the Royal Academy in 1886. The |
| bronze reductions seem to have been made in large numbers | | bronze reductions seem to have been made in large numbers |
| and arc in many public collections including the Walker Art | | and arc in many public collections including the Walker Art |
| Gallery, Liverpool, the City Art Gallery, Birmingham, and | | Gallery, Liverpool, the City Art Gallery, Birmingham, and |
| the National Museum of wales. (See R and L. Ormond, | | the National Museum of wales. (See R and L. Ormond, |
| Io7id lrf?¢j¢fo„ (New Haven, Conn., and London,1975), | | Io7id lrf?¢j¢fo„ (New Haven, Conn., and London,1975), |
| n | | n | @@PROCESS |
| 934, 162-3; S. Beattie, 7%e N¢ia7 Sc#/Pf„7.c (New Haven, | | 934, 162-3; S. Beattie, 7%e N¢ia7 Sc#/Pf„7.c (New Haven, |
| Conn., and I.ondon,1983), 260, n. 53.) Some of the casts | | Conn., and I.ondon,1983), 260, n. 53.) Some of the casts |
| arc chiselled not only with the artist's mmc and the date, as | | arc chiselled not only with the artist's mmc and the date, as |
| here, but with a Roman numeral and the following `puBD By | | here, but with a Roman numeral and the following `puBD By |
| ERNEST BROWN & PHILLIPS / AT THE LEICESTER GALLERIES | | ERNEST BROWN & PHILLIPS / AT THE LEICESTER GALLERIES |
| LEICESTER/ SQUARE, LONDON.' (See for instance Christie's, | | LEICESTER/ SQUARE, LONDON.' (See for instance Christie's, |
| London, 25 Scptcmbcr 1986, lot 173, numbered XXVI, | | London, 25 Scptcmbcr 1986, lot 173, numbered XXVI, |
| subsequently with the dealer Peter Nahum of 5 Ryder Street. ) | | subsequently with the dealer Peter Nahum of 5 Ryder Street. ) |
| A plaster version of no special quality but inscribed `Given to | | A plaster version of no special quality but inscribed `Given to |
| me by Leighton about two months bcforc he dicd', followed | | me by Leighton about two months bcforc he dicd', followed |
| by the monogram of Thomas Armstrong the painter, was lot | | by the monogram of Thomas Armstrong the painter, was lot |
| n | | n | @@PROCESS |
| 230 at Sothcby's, I.ondon, 16 December 1987. | | 230 at Sothcby's, I.ondon, 16 December 1987. |
| n | | n | @@PROCESS |
| 113 | | 113 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry of J. W. Singer and Son, Frome, Somcrset | | Foundry of J. W. Singer and Son, Frome, Somcrset |
| After Frederick, Ijord LEIGHTON, PRA ( 1830-96) | | After Frederick, Ijord LEIGHTON, PRA ( 1830-96) |
| n | | n | @@PROCESS |
| 533. The Sluggard | | 533. The Sluggard |
| 52.2 cms. (height including integral plinth); 3.5 cms. (height of | | 52.2 cms. (height including integral plinth); 3.5 cms. (height of |
| plinth); 16.5 cms. (length of plinth); 14.7cms. (width of plinth) | | plinth); 16.5 cms. (length of plinth); 14.7cms. (width of plinth) |
| Bronze with a chestnut to dark brown patina. Hollow, sand-cast. | | Bronze with a chestnut to dark brown patina. Hollow, sand-cast. |
| The separately cast plinth reveals when reversed the iron armature | | The separately cast plinth reveals when reversed the iron armature |
| from the interior of both legs. `THE sLUGGARD' is chisellcd on the | | from the interior of both legs. `THE sLUGGARD' is chisellcd on the |
| front face of the bronze plinth. `FoUNDED By I. W. slNGER & | | front face of the bronze plinth. `FoUNDED By I. W. slNGER & |
| SoNS / FROME SoMERSET.' is chiselled on the proper left face of the | | SoNS / FROME SoMERSET.' is chiselled on the proper left face of the |
| bronze plinth. `Fred Leighton' is incised in the model across the | | bronze plinth. `Fred Leighton' is incised in the model across the |
| proper right back comer of the plinth on the upper surface. | | proper right back comer of the plinth on the upper surface. |
| Bequeathed by the Revd J. W. R Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R Brocklebank in November 1926. |
| No. 32 in the receipt prepared by Andrew Shirlcy in January 1927, | | No. 32 in the receipt prepared by Andrew Shirlcy in January 1927, |
| as `A Statuette Nude Male standing stretching his arms . . . by Fred | | as `A Statuette Nude Male standing stretching his arms . . . by Fred |
| Leighton.' | | Leighton.' |
| Ijci\givton' s Athlete avdeening fhom sleeping (to give it its | | Ijci\givton' s Athlete avdeening fhom sleeping (to give it its |
| origival title), said to have origivated in the sight of his model | | origival title), said to have origivated in the sight of his model |
| Giuseppe Valona stretching after a sitting, existed as a model | | Giuseppe Valona stretching after a sitting, existed as a model |
| by 1882 but was only exhibited as a life-size figure at the | | by 1882 but was only exhibited as a life-size figure at the |
| Royal Academy in 1886 (no.1921). The origival plaster | | Royal Academy in 1886 (no.1921). The origival plaster |
| (perhaps the figure then exhibited) was prescntcd to the | | (perhaps the figure then exhibited) was prescntcd to the |
| Royal Academy by the artist's sisters in 1896. A bronze cast | | Royal Academy by the artist's sisters in 1896. A bronze cast |
| was acquired at the artist's studio sale (8-10 July 1896, lot | | was acquired at the artist's studio sale (8-10 July 1896, lot |
| n | | n | @@PROCESS |
| 107b) by Henry Tatc and presented to the Tate Gallery. It is | | 107b) by Henry Tatc and presented to the Tate Gallery. It is |
| now on loan to Leighton House. (R and L. Ormond, Iond | | now on loan to Leighton House. (R and L. Ormond, Iond |
| n | | n | @@PROCESS |
| 114 | | 114 |
| I€¢j¢fo# (New Haven, Conn., and I.ondon,1975),167.) | | I€¢j¢fo# (New Haven, Conn., and I.ondon,1975),167.) |
| The statuette reproduces a `rough sketch in plaster' perhaps | | The statuette reproduces a `rough sketch in plaster' perhaps |
| of 1882. The edition must have bccn very large and versions | | of 1882. The edition must have bccn very large and versions |
| are very common. Many arc chiscllcd `Publishcd by Arthur | | are very common. Many arc chiscllcd `Publishcd by Arthur |
| Leslie Collie / 398 Old Bond Strcct London' with the dates | | Leslie Collie / 398 Old Bond Strcct London' with the dates |
| 6 May 1889 and 1 May 1890, as well as with the name of | | 6 May 1889 and 1 May 1890, as well as with the name of |
| Singer's foundry. Collie evidently sold the copyright to the | | Singer's foundry. Collie evidently sold the copyright to the |
| founders whose catalogue, of about 1914, fcaturcs a cast | | founders whose catalogue, of about 1914, fcaturcs a cast |
| `from the signed model, by the late I.ord I.cighton, of which | | `from the signed model, by the late I.ord I.cighton, of which |
| wc hold the copyright' (cited by S. Bcattic, T77e N,ov Sc#/pf#7c | | wc hold the copyright' (cited by S. Bcattic, T77e N,ov Sc#/pf#7c |
| (New Haven, Conn., and I.ondon, 1983), 260 n. 59). When | | (New Haven, Conn., and I.ondon, 1983), 260 n. 59). When |
| the founder's name only appears, thcrcfore, as in this case, the | | the founder's name only appears, thcrcfore, as in this case, the |
| cast is likely to be later. A cast stamped `M' and given by | | cast is likely to be later. A cast stamped `M' and given by |
| Morris Singer to a friend in 1936 was sold at Sothcby's, | | Morris Singer to a friend in 1936 was sold at Sothcby's, |
| I.ondon, 16 December 1987. It is possible that casts were | | I.ondon, 16 December 1987. It is possible that casts were |
| still being made at that date. An idea of what was considered | | still being made at that date. An idea of what was considered |
| as an appropriate setting and pedestal for the figure may be | | as an appropriate setting and pedestal for the figure may be |
| obtained from an illustration to an article by Edmund Gosse | | obtained from an illustration to an article by Edmund Gosse |
| on small domestic bronzes in A4l¢g¢z¢.72e a/47? ( 1895), 372 | | on small domestic bronzes in A4l¢g¢z¢.72e a/47? ( 1895), 372 |
| (reproduced in S. Beattie, op. cit. 190). The patina of this | | (reproduced in S. Beattie, op. cit. 190). The patina of this |
| bronze is often a very pale golden brown as in the version in | | bronze is often a very pale golden brown as in the version in |
| the Victoria and Albert Museum (820-1901). The | | the Victoria and Albert Museum (820-1901). The |
| personification of sculpture in Brock's monument to Ileighton | | personification of sculpture in Brock's monument to Ileighton |
| in St Paul's Cathedral holds a diminutive version of this | | in St Paul's Cathedral holds a diminutive version of this |
| figure. | | figure. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Richard Cockle LUCAS ( 1800-83) | | Richard Cockle LUCAS ( 1800-83) |
| n | | n | @@PROCESS |
| 534. Bust portrait of a boy | | 534. Bust portrait of a boy |
| 33 cms. (height); 9 cms. (height of socle) | | 33 cms. (height); 9 cms. (height of socle) |
| Wax, ivory in colour on the chest but yellow on much of the face. | | Wax, ivory in colour on the chest but yellow on much of the face. |
| Thcrc are cracks across the proper right side of the chest and the | | Thcrc are cracks across the proper right side of the chest and the |
| neck. The bust has also been broken into pieces and rejoined with | | neck. The bust has also been broken into pieces and rejoined with |
| a ccmcnt some of which has fallen out-the lines of the join are | | a ccmcnt some of which has fallen out-the lines of the join are |
| clear in front of the proper left ear and into the hair, also behind | | clear in front of the proper left ear and into the hair, also behind |
| the neck and in the hollow behind the chest. The surface is dented | | the neck and in the hollow behind the chest. The surface is dented |
| and scratched and much surface dirt has gathered in these hollows | | and scratched and much surface dirt has gathered in these hollows |
| as well as in cracks and joins. The bust is mounted on a turned and | | as well as in cracks and joins. The bust is mounted on a turned and |
| waisted socle of ebonized wood which cannot be origival. | | waisted socle of ebonized wood which cannot be origival. |
| Bequeathed by Mrs Leverton Harris in 1939 together with the | | Bequeathed by Mrs Leverton Harris in 1939 together with the |
| VG.7ig¢.» ¢"d Cb¢./d after Sansovino (No. 85). | | VG.7ig¢.» ¢"d Cb¢./d after Sansovino (No. 85). |
| The bust was acquired as a work by Lucas and the attribution | | The bust was acquired as a work by Lucas and the attribution |
| is likely to have come from the family of the boy depicted: | | is likely to have come from the family of the boy depicted: |
| there seems no reason to question it. Lucas exhibited at the | | there seems no reason to question it. Lucas exhibited at the |
| Royal Academy betwccn 1829 and 1859 but it is seldom | | Royal Academy betwccn 1829 and 1859 but it is seldom |
| possible to know for certain whether the works he exhibited | | possible to know for certain whether the works he exhibited |
| were of wax, ivory, clay, plaster, or marble in all of which | | were of wax, ivory, clay, plaster, or marble in all of which |
| media he worked. A `modcl of a child' was exhibited by him | | media he worked. A `modcl of a child' was exhibited by him |
| in 1830 (no.1130) and in 1833 a `Bust of Miss Bury, | | in 1830 (no.1130) and in 1833 a `Bust of Miss Bury, |
| daughter of I.ady Charlotte Bury', but child portraiture seems | | daughter of I.ady Charlotte Bury', but child portraiture seems |
| not to have been a specially important category for hin. | | not to have been a specially important category for hin. |
| Lucas is now chiefly remembered in connection with the | | Lucas is now chiefly remembered in connection with the |
| Berlin I/o#¢. Wilhelm von Bode published this as a work by | | Berlin I/o#¢. Wilhelm von Bode published this as a work by |
| Leonardo but it was claimed that Lucas made it and it had | | Leonardo but it was claimed that Lucas made it and it had |
| certainly been in his studio. See F¢&c? 7Z7c A# a/D#Gpf¢.o#, | | certainly been in his studio. See F¢&c? 7Z7c A# a/D#Gpf¢.o#, |
| cd. Mark Jones, British Museum (I.ondon, 1990), 303-7. | | cd. Mark Jones, British Museum (I.ondon, 1990), 303-7. |
| n | | n | @@PROCESS |
| 115 | | 115 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| RIchard Cockle LUCAS ( 1800-83) | | RIchard Cockle LUCAS ( 1800-83) |
| n | | n | @@PROCESS |
| 535. Bust portrait of D. C. Read | | 535. Bust portrait of D. C. Read |
| 77.2 cms. (height including socle) | | 77.2 cms. (height including socle) |
| Plaster of Paris, covered with a light coat of pale grey paint now | | Plaster of Paris, covered with a light coat of pale grey paint now |
| discoloured to a brown grey. Thick walled, hollow cast. There are | | discoloured to a brown grey. Thick walled, hollow cast. There are |
| vestigial seams in the top of the head. Chips are missing to proper | | vestigial seams in the top of the head. Chips are missing to proper |
| left of edge of chest. `D C READ' is scratched in the surface of the | | left of edge of chest. `D C READ' is scratched in the surface of the |
| supporting trunk of plaster rising from the socle through the hollow | | supporting trunk of plaster rising from the socle through the hollow |
| of the back. | | of the back. |
| Given by Chambers Hall in 1855. Added at the end of the list of | | Given by Chambers Hall in 1855. Added at the end of the list of |
| his gift on page 47 of the University Gallery's Donations Book | | his gift on page 47 of the University Gallery's Donations Book |
| ( 1842-1906) as `A model Bust of D. C. Read by Lucas'. The manner | | ( 1842-1906) as `A model Bust of D. C. Read by Lucas'. The manner |
| in which it is added to the list, together with a folio volume of | | in which it is added to the list, together with a folio volume of |
| pencil sketches, presented by Read's widow, shows that the bust | | pencil sketches, presented by Read's widow, shows that the bust |
| arrived after the rest of the gift, indeed after Hall's death later in | | arrived after the rest of the gift, indeed after Hall's death later in |
| 1855. In the Department's accounts there is a payment of fl for `a | | 1855. In the Department's accounts there is a payment of fl for `a |
| Box from Mrs Reed [f¢.c] containing a bust' recorded under June | | Box from Mrs Reed [f¢.c] containing a bust' recorded under June |
| 1856. A letter from Mrs Read of 11 July 1855 mentions that Mr | | 1856. A letter from Mrs Read of 11 July 1855 mentions that Mr |
| Hall wishes to send the bust and that she would like it to be safe | | Hall wishes to send the bust and that she would like it to be safe |
| in Oxford-`he bids me tell you that it is not a plaster cast but a | | in Oxford-`he bids me tell you that it is not a plaster cast but a |
| solid terracotta study from the life, and sculptured by Lucas, and | | solid terracotta study from the life, and sculptured by Lucas, and |
| as a favour to Mr Read he charged 15 guineas for it'. | | as a favour to Mr Read he charged 15 guineas for it'. |
| D. C. Read ( 1790-1851) was a painter and printmaker who | | D. C. Read ( 1790-1851) was a painter and printmaker who |
| was a close friend of Chambers Hall. The distinguished | | was a close friend of Chambers Hall. The distinguished |
| collection of works of art which Hall gave to the University | | collection of works of art which Hall gave to the University |
| Galleries also included 118 etchings and 17 oils by Read. | | Galleries also included 118 etchings and 17 oils by Read. |
| Rcad's wife Charlotte was evidently instrumental in directing | | Rcad's wife Charlotte was evidently instrumental in directing |
| Hall's collection to Oxford. She was personally responsible | | Hall's collection to Oxford. She was personally responsible |
| for its packagivg and transportation and for all correspondence | | for its packagivg and transportation and for all correspondence |
| with the University Galleries concerning it. Read and his wife | | with the University Galleries concerning it. Read and his wife |
| are buried beside Hall at Boldrc in Hampshirc (infomation | | are buried beside Hall at Boldrc in Hampshirc (infomation |
| from a descendant of the Read family, Mr E. Stone of 186 | | from a descendant of the Read family, Mr E. Stone of 186 |
| Clements Road, East Ham, I.ondon). There seems also to | | Clements Road, East Ham, I.ondon). There seems also to |
| have been a wax bust by Lucas of Read. In his will, proved | | have been a wax bust by Lucas of Read. In his will, proved |
| 30 August 1851, Read bequeathed this to his second son | | 30 August 1851, Read bequeathed this to his second son |
| Charles John Read and from him it passed to George Sidney | | Charles John Read and from him it passed to George Sidney |
| Read, barrister, who left it to Edward Read Davies in whose | | Read, barrister, who left it to Edward Read Davies in whose |
| possession it seems to have been in the early years of this | | possession it seems to have been in the early years of this |
| century. That this was a small bust is clear from an earlier whl | | century. That this was a small bust is clear from an earlier whl |
| dated 13 October 1845 in which Read wrote that he gave to | | dated 13 October 1845 in which Read wrote that he gave to |
| his friend William Martin Coates Esq. `the small bust of myself | | his friend William Martin Coates Esq. `the small bust of myself |
| modeued in wax by Lucas the sculptor'-this he revoked | | modeued in wax by Lucas the sculptor'-this he revoked |
| when drafting the will of 14 May 1851, giving it instead to | | when drafting the will of 14 May 1851, giving it instead to |
| his second son. (Information on these wills has kindly been | | his second son. (Information on these wills has kindly been |
| communicated by Mr Stone.) Gunnis's statement that the | | communicated by Mr Stone.) Gunnis's statement that the |
| Ashmolean's bust is of wax is presumably based on the | | Ashmolean's bust is of wax is presumably based on the |
| erroneous assumption that Lucas's portraits wcrc always in | | erroneous assumption that Lucas's portraits wcrc always in |
| this material. For Lucas see also No. 534. | | this material. For Lucas see also No. 534. |
| n | | n | @@PROCESS |
| 116 | | 116 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| RIchard Cockle LUCAS ( 1800-83) | | RIchard Cockle LUCAS ( 1800-83) |
| n | | n | @@PROCESS |
| 536. Circular medallion profile bust | | 536. Circular medallion profile bust |
| portrait probably of Chambers Hall | | portrait probably of Chambers Hall |
| 13.8 cms. (diameter); 8 cms. (depth) | | 13.8 cms. (diameter); 8 cms. (depth) |
| White wax. There are chips missing at the rim, also evidence of | | White wax. There are chips missing at the rim, also evidence of |
| cement and old adhesive. A portion of the wax at the rim between | | cement and old adhesive. A portion of the wax at the rim between |
| 7 and 8 o'clock is loose. Set in a circular ebonized wooden frame | | 7 and 8 o'clock is loose. Set in a circular ebonized wooden frame |
| with a gold slip. The frame is inscribed in gold letters below with | | with a gold slip. The frame is inscribed in gold letters below with |
| the artist's name and dates and above `SIR HENRy RAWLINSoN' and | | the artist's name and dates and above `SIR HENRy RAWLINSoN' and |
| `cHAMBERS HALL GIFT'. Endorsed in black paint on the canvas | | `cHAMBERS HALL GIFT'. Endorsed in black paint on the canvas |
| backing `CHAMBERS HALL ESQ. / PROBABLy By/ R. C. LUCAS'. The | | backing `CHAMBERS HALL ESQ. / PROBABLy By/ R. C. LUCAS'. The |
| `Probably' has been deleted and the note added in ink: `Mentioned | | `Probably' has been deleted and the note added in ink: `Mentioned |
| as his in Mrs Rcad's / list sent with the Chambers Hall / Collection | | as his in Mrs Rcad's / list sent with the Chambers Hall / Collection |
| 1855,. | | 1855,. |
| Probably part of the gift of Chambers Hall in 1855. | | Probably part of the gift of Chambers Hall in 1855. |
| The earliest inscription on this portrait presumably identifies | | The earliest inscription on this portrait presumably identifies |
| it as a portrait of Chambers Hall, the collector (for whom | | it as a portrait of Chambers Hall, the collector (for whom |
| see No. 535) and the authority of this is strengthened by the | | see No. 535) and the authority of this is strengthened by the |
| admission of doubt concerning the artist. It must correspond | | admission of doubt concerning the artist. It must correspond |
| with the `medallion likeness of Mr Hall by Lucas' which is | | with the `medallion likeness of Mr Hall by Lucas' which is |
| no. 7 in the list of `pictures' from Hall's collection described | | no. 7 in the list of `pictures' from Hall's collection described |
| by Charlotte Read as sent off to Oxford in a letter of 2 Apul | | by Charlotte Read as sent off to Oxford in a letter of 2 Apul |
| 1855. | | 1855. |
| There must have been some confusion with the portrait of | | There must have been some confusion with the portrait of |
| Rawlinson by Lucas which was known to be in the Museum, | | Rawlinson by Lucas which was known to be in the Museum, |
| and someone decided to make everything clear by gold | | and someone decided to make everything clear by gold |
| inscriptions on the frame. Meanwhile, however, the portrait | | inscriptions on the frame. Meanwhile, however, the portrait |
| of Rawlinson, presumably because it was a portrait of an | | of Rawlinson, presumably because it was a portrait of an |
| archaeoloSst, was in the care of the Department of | | archaeoloSst, was in the care of the Department of |
| Antiquities. There is no resemblance between the two profiles. | | Antiquities. There is no resemblance between the two profiles. |
| On the other hand this portrait does resemble other portraits | | On the other hand this portrait does resemble other portraits |
| of Hall. And it docs resemble some work by Lucas-scc, for | | of Hall. And it docs resemble some work by Lucas-scc, for |
| instance, the portrait of Lewis Rcndel of 1851 in the | | instance, the portrait of Lewis Rcndel of 1851 in the |
| Wenholme Gaueries, Grimsby. For Lucas see also Nos. 534 | | Wenholme Gaueries, Grimsby. For Lucas see also Nos. 534 |
| and 535. | | and 535. |
| n | | n | @@PROCESS |
| 117 | | 117 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| RIchard Cockle LUCAS ( 1800-83) | | RIchard Cockle LUCAS ( 1800-83) |
| n | | n | @@PROCESS |
| 537. Oval medallion profile portrait | | 537. Oval medallion profile portrait |
| head of Sir Henry Rawlinson | | head of Sir Henry Rawlinson |
| 19.5 cms. (height of wax); 15.2 cms. (width of wax); 16.8 cms. | | 19.5 cms. (height of wax); 15.2 cms. (width of wax); 16.8 cms. |
| (height of wax visible); 13 cms. (width of wax visible); 13.8 cms. | | (height of wax visible); 13 cms. (width of wax visible); 13.8 cms. |
| (height of head) | | (height of head) |
| The head is in white wax against a background of chocolate brown | | The head is in white wax against a background of chocolate brown |
| wax. The upper part of the background has warped, crinkled, and | | wax. The upper part of the background has warped, crinkled, and |
| blistcred from accidental exposure to heat (perhaps the hot water | | blistcred from accidental exposure to heat (perhaps the hot water |
| pipes which were installed in the last decades of the last century). | | pipes which were installed in the last decades of the last century). |
| Set in a rectangular plaster surround, covered with vclvct (now a | | Set in a rectangular plaster surround, covered with vclvct (now a |
| mustard yellow colour but revealed, under the frame, as origivally | | mustard yellow colour but revealed, under the frame, as origivally |
| burgundy), and given a dlded wooden frame with composition | | burgundy), and given a dlded wooden frame with composition |
| foliate scrolls. `R C. Lucas / Sculp.' is funtly incised in an elegant | | foliate scrolls. `R C. Lucas / Sculp.' is funtly incised in an elegant |
| cursive script in the wax below the cutting of the neck. In cuneiform | | cursive script in the wax below the cutting of the neck. In cuneiform |
| script behind the head a text is boldly inscribed (partially distorted | | script behind the head a text is boldly inscribed (partially distorted |
| by the heat damage) below which these words are lightly scratched | | by the heat damage) below which these words are lightly scratched |
| (as a translation) in elegant cursive script: `1 crossed | | (as a translation) in elegant cursive script: `1 crossed |
| the / Euphrates'. Attached to the pine backing of the frame is an | | the / Euphrates'. Attached to the pine backing of the frame is an |
| old label `Sir Henry Rawlinson 1810-1895 / Diplomatist, Soldier, | | old label `Sir Henry Rawlinson 1810-1895 / Diplomatist, Soldier, |
| Orientalist / R C Lucas fecit.' | | Orientalist / R C Lucas fecit.' |
| Provenance unrecorded. | | Provenance unrecorded. |
| Sir Henry Creswicke Rawlinson Bt. ( 1810-95) is described | | Sir Henry Creswicke Rawlinson Bt. ( 1810-95) is described |
| as the `Fathcr of Assyriology'. His interests in the subject | | as the `Fathcr of Assyriology'. His interests in the subject |
| developed during his military service in Iran and Afthanistan | | developed during his military service in Iran and Afthanistan |
| between 1833 and 1844. At considerable personal danger he | | between 1833 and 1844. At considerable personal danger he |
| transcribed the great rock inscription of Darius I in Western | | transcribed the great rock inscription of Darius I in Western |
| Iran the text of which was published by the Royal Asiatic | | Iran the text of which was published by the Royal Asiatic |
| Society. The portrait looks as if it should be dated to the | | Society. The portrait looks as if it should be dated to the |
| 1840s or 1850s on the uncertain evidcncc of the sittcr's | | 1840s or 1850s on the uncertain evidcncc of the sittcr's |
| apparent age and there are no stylistic reasons for doubting | | apparent age and there are no stylistic reasons for doubting |
| this. The setting of the portrait in an imitation of an early | | this. The setting of the portrait in an imitation of an early |
| eighteenth-century French frame is typical of the mid-nineteenth | | eighteenth-century French frame is typical of the mid-nineteenth |
| century but the improvised manner in which it | | century but the improvised manner in which it |
| has been done here suggests that the artist did not supervise | | has been done here suggests that the artist did not supervise |
| it. For Lucas see also Nos. 534nd. | | it. For Lucas see also Nos. 534nd. |
| jJAI- | | jJAI- |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry of E. Gruct, 44 avenue de Chatillion, Paris | | Foundry of E. Gruct, 44 avenue de Chatillion, Paris |
| After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863- | | After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863- |
| 1931) | | 1931) |
| n | | n | @@PROCESS |
| 538. Diana wounded | | 538. Diana wounded |
| 36.9 cms. (height) | | 36.9 cms. (height) |
| Bronze, highly polished, with a dark brown and dark green patim. | | Bronze, highly polished, with a dark brown and dark green patim. |
| Hollow, sand-cast in several pieces (see below). `8 Mackennal' with | | Hollow, sand-cast in several pieces (see below). `8 Mackennal' with |
| no stops and a tall to the last letter underlining the last part of the | | no stops and a tall to the last letter underlining the last part of the |
| name, with the date `1905' above, is incised in the model on the | | name, with the date `1905' above, is incised in the model on the |
| integral naturalistic base to proper right of the figure. Within the | | integral naturalistic base to proper right of the figure. Within the |
| hollow base are evident the iron armatures for the legs, a paper label | | hollow base are evident the iron armatures for the legs, a paper label |
| in the shape of a heart inscribed `HH4', and the seal of the founder: | | in the shape of a heart inscribed `HH4', and the seal of the founder: |
| `E GRUET JEUNE FONDEUR 44 AVENUE DE CHATILLION'. | | `E GRUET JEUNE FONDEUR 44 AVENUE DE CHATILLION'. |
| Bequeathed by the Revd J. W. R Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R Brocklebank in November 1926. |
| No. I I in Andrew Shirley's receipt of January 1927. | | No. I I in Andrew Shirley's receipt of January 1927. |
| A cast of this statuette was exhibited in 1906 at the Royal | | A cast of this statuette was exhibited in 1906 at the Royal |
| Academy Exhibition (no.1648). A larger version, a `statue', | | Academy Exhibition (no.1648). A larger version, a `statue', |
| presumably of plaster, was exhibited there in 1907 (no.1841 ), | | presumably of plaster, was exhibited there in 1907 (no.1841 ), |
| and a statue in marble at the Exhibition of 1908 (no.1974) | | and a statue in marble at the Exhibition of 1908 (no.1974) |
| which was purchased out of the Chantrey Bequest Fund (Tatc | | which was purchased out of the Chantrey Bequest Fund (Tatc |
| Gallery, in store). The bronze statuettes exist in great | | Gallery, in store). The bronze statuettes exist in great |
| numbers. They differ from the marble in the trcatmcnt of the | | numbers. They differ from the marble in the trcatmcnt of the |
| hair and the creasing of the belly, and do not employ the | | hair and the creasing of the belly, and do not employ the |
| tree-trunk support. In some bronzcs divisions may be | | tree-trunk support. In some bronzcs divisions may be |
| discerned in the upper part of the figurc's right thigh and | | discerned in the upper part of the figurc's right thigh and |
| right arm (as in version which was lot 93 at Christie's, Ijondon, | | right arm (as in version which was lot 93 at Christie's, Ijondon, |
| 24 September 1987), but none is visible in this case. Gruet's | | 24 September 1987), but none is visible in this case. Gruet's |
| stamp is not always concealed: it is sometimes placed below | | stamp is not always concealed: it is sometimes placed below |
| the signature (as in the example just cited and in another | | the signature (as in the example just cited and in another |
| bronze sold at Sotheby's, I.ondon, I October 1986). The | | bronze sold at Sotheby's, I.ondon, I October 1986). The |
| method of securing the feet to the base also varies. The Gruct | | method of securing the feet to the base also varies. The Gruct |
| foundry cast work for Macmonmies and Saint-Gaudcns, so it | | foundry cast work for Macmonmies and Saint-Gaudcns, so it |
| was used to taking orders from abroad (Mackennal had | | was used to taking orders from abroad (Mackennal had |
| settled in I.ondon by this date). At least one other Parisian | | settled in I.ondon by this date). At least one other Parisian |
| foundry cast this model: some casts arc chiselled at the lowest | | foundry cast this model: some casts arc chiselled at the lowest |
| part of the base below the signature `HOHWILLER FONDEUR | | part of the base below the signature `HOHWILLER FONDEUR |
| (see, for example, Christic's, I.ondon, 29 September 1988, | | (see, for example, Christic's, I.ondon, 29 September 1988, |
| lot 253). | | lot 253). |
| What M. H. Spielmann observed of Mackennal in his | | What M. H. Spielmann observed of Mackennal in his |
| British Scttlpture and Scttl2tors Of To-Day (Tcondon, L90L) , | | British Scttlpture and Scttl2tors Of To-Day (Tcondon, L90L) , |
| n | | n | @@PROCESS |
| 135, seems particularly pertinent in connection with this | | 135, seems particularly pertinent in connection with this |
| figure: `a good deal of Mr Mackcnnal's elegance seems to | | figure: `a good deal of Mr Mackcnnal's elegance seems to |
| have been instilled into him in Paris'. However, his inspiration | | have been instilled into him in Paris'. However, his inspiration |
| must have been German sculpture in which the motif of the | | must have been German sculpture in which the motif of the |
| twisted nude reaching down to his or her lower leg was so | | twisted nude reaching down to his or her lower leg was so |
| commonly repeated in the first years of the twentieth century: | | commonly repeated in the first years of the twentieth century: |
| the S¢"d¢/4¢.#dcr of 1901 by Nikolaus Friedrich ( 1865- | | the S¢"d¢/4¢.#dcr of 1901 by Nikolaus Friedrich ( 1865- |
| 1914), the S¢#d¢/4¢.#de7?.7e of 1901 by August Kraus ( 1868- | | 1914), the S¢#d¢/4¢.#de7?.7e of 1901 by August Kraus ( 1868- |
| 1934), the B¢dc7¢de A4l¢dc¢c7c of 1902 by Wilhelm Lehmbruck, | | 1934), the B¢dc7¢de A4l¢dc¢c7c of 1902 by Wilhelm Lehmbruck, |
| and the S¢»de/c„b¢.„der¢.# of 1906 by Arthur Lewin-Funckc | | and the S¢»de/c„b¢.„der¢.# of 1906 by Arthur Lewin-Funckc |
| are all sinflar (8. Hffler, R¢e¢.7¢/¢7¢¢ We:for#/c" #"d ¢¢.c | | are all sinflar (8. Hffler, R¢e¢.7¢/¢7¢¢ We:for#/c" #"d ¢¢.c |
| Berliner Bildhanerschule des 19. jahrhunderts (Modelne | | Berliner Bildhanerschule des 19. jahrhunderts (Modelne |
| Galerie, Quadrat Bottrop, and Schloss Cappenbcrg, 1984), | | Galerie, Quadrat Bottrop, and Schloss Cappenbcrg, 1984), |
| n | | n | @@PROCESS |
| 113,150,165,166). | | 113,150,165,166). |
| n | | n | @@PROCESS |
| 119 | | 119 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Sir Edgar Bertran MACKENNAL Kcvo, RA ( 1863-1931 ) | | Sir Edgar Bertran MACKENNAL Kcvo, RA ( 1863-1931 ) |
| n | | n | @@PROCESS |
| 539. Sappho | | 539. Sappho |
| 28.7 cms. (height including integral base); 23.8 cms. (length of | | 28.7 cms. (height including integral base); 23.8 cms. (length of |
| integral base); 16,5 cms. (width of integral base); 6.4 cms. (height | | integral base); 16,5 cms. (width of integral base); 6.4 cms. (height |
| of plinth); 25.9 cms. (length of plinth); 20 cms. (width of plinth) | | of plinth); 25.9 cms. (length of plinth); 20 cms. (width of plinth) |
| White Carrara marble. Chiselled to proper left of the integral | | White Carrara marble. Chiselled to proper left of the integral |
| naturalistic base `8 Mackennal' with no stops and a tail to the last | | naturalistic base `8 Mackennal' with no stops and a tail to the last |
| letter underlining the last part of the name. Mounted on a plinth of | | letter underlining the last part of the name. Mounted on a plinth of |
| pale green slightly banded onyx. | | pale green slightly banded onyx. |
| Presented by the sculptor's daughter Mrs C. A. Kraay in 1952, the | | Presented by the sculptor's daughter Mrs C. A. Kraay in 1952, the |
| year in which her son Colin Mackennal Kraay became an Assistant | | year in which her son Colin Mackennal Kraay became an Assistant |
| Keeper in the Hebcrden Coin Room. Registered (on 13 November) | | Keeper in the Hebcrden Coin Room. Registered (on 13 November) |
| and listed in the A#7¢#¢/ RGPo# ( 1952), 48, as `Scated Female | | and listed in the A#7¢#¢/ RGPo# ( 1952), 48, as `Scated Female |
| Figure'. | | Figure'. |
| The statuette was exhibited at the Royal Academy Exhibition | | The statuette was exhibited at the Royal Academy Exhibition |
| in 1909 (no.1836, S¢¢pfro, illustrated in Rayro/ Ac¢deny | | in 1909 (no.1836, S¢¢pfro, illustrated in Rayro/ Ac¢deny |
| P¢.cf#71cJ ( 1909),121 ). It seems to have rcmaincd in the artist's | | P¢.cf#71cJ ( 1909),121 ). It seems to have rcmaincd in the artist's |
| possession (unless more than one version of it was carved) for | | possession (unless more than one version of it was carved) for |
| it was included in the Fine Art Society's Memorial Exhibition | | it was included in the Fine Art Society's Memorial Exhibition |
| Of Stati4ettes ky the Late Sir Bertram Macheunal .in May \932 | | Of Stati4ettes ky the Late Sir Bertram Macheunal .in May \932 |
| (as no.I ), and was exhibited in the Co7„oweowo7fl}fG.pc | | (as no.I ), and was exhibited in the Co7„oweowo7fl}fG.pc |
| Eichibition Of. Works ky Late Members cLt che Ttoval AlcaLderny | | Eichibition Of. Works ky Late Members cLt che Ttoval AlcaLderny |
| in the following year (no. 802, lent by Lady Mackcnnal). The | | in the following year (no. 802, lent by Lady Mackcnnal). The |
| theme of a compact female nude seated or crouching, | | theme of a compact female nude seated or crouching, |
| wrapped in thought, was popular in the French sculpture with | | wrapped in thought, was popular in the French sculpture with |
| which Mackennal, who had worked in Paris in Rodin's studio | | which Mackennal, who had worked in Paris in Rodin's studio |
| in the early l880s and again in the 1890s on his rctum from | | in the early l880s and again in the 1890s on his rctum from |
| his native Australia, was very finiliar. S¢4pfo may be regarded | | his native Australia, was very finiliar. S¢4pfo may be regarded |
| as a version of Dalou's Ve'7¢.fg' owc'co7¢»"G (probably cxecutcd | | as a version of Dalou's Ve'7¢.fg' owc'co7¢»"G (probably cxecutcd |
| in the l890s and available from 1903 in 4¢.fc#G.£ de Sforcf as | | in the l890s and available from 1903 in 4¢.fc#G.£ de Sforcf as |
| well as bronze) only tidier in form and less desperate in | | well as bronze) only tidier in form and less desperate in |
| emotion. Closely related works are the B¢#¢c7' of 1904 by | | emotion. Closely related works are the B¢#¢c7' of 1904 by |
| Bcla Lyon Pratt (reserve collection, Fogg Art Museum, | | Bcla Lyon Pratt (reserve collection, Fogg Art Museum, |
| Harvard University,1939.308) and the nude by Constantin | | Harvard University,1939.308) and the nude by Constantin |
| Dimitriadis, also dated 1909 (versions of both this and the | | Dimitriadis, also dated 1909 (versions of both this and the |
| Dalou were lots 153 and 154 at Christie's, I.ondon, 28 | | Dalou were lots 153 and 154 at Christie's, I.ondon, 28 |
| January 1988, illustrated). A bronze by Mackcnnal with the | | January 1988, illustrated). A bronze by Mackcnnal with the |
| same title as this was exhibited at the Royal Academy in 1921 | | same title as this was exhibited at the Royal Academy in 1921 |
| (no.1195). It is entirely different in conception and represents | | (no.1195). It is entirely different in conception and represents |
| a nude woman leaning back against a rock. | | a nude woman leaning back against a rock. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| | | @@PROCESS |
| 122 | | 122 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Unknown foundy | | Unknown foundy |
| After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863- | | After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863- |
| 1931) | | 1931) |
| n | | n | @@PROCESS |
| 540. King George V in naval | | 540. King George V in naval |
| uniform | | uniform |
| 20.5 cms. (height); 6 cms. (height of marble base) | | 20.5 cms. (height); 6 cms. (height of marble base) |
| Bronze, with a brown patina. Hollow, probably lost-wax, cast. | | Bronze, with a brown patina. Hollow, probably lost-wax, cast. |
| Incised `8. Mackennal' in the model across the base of the hollowed | | Incised `8. Mackennal' in the model across the base of the hollowed |
| back. Bolted to a block of black marble, cubic but with a curved | | back. Bolted to a block of black marble, cubic but with a curved |
| front face. | | front face. |
| Given to the Hcberden Coin Room in 1982 by Mrs Kraay, in | | Given to the Hcberden Coin Room in 1982 by Mrs Kraay, in |
| memory of her husband Colin Mackennal Kraay (b.1918; d. 27 | | memory of her husband Colin Mackennal Kraay (b.1918; d. 27 |
| January 1982; Keeper of the Coin Room 1975-82) who was the | | January 1982; Keeper of the Coin Room 1975-82) who was the |
| sculptor' s grandson. | | sculptor' s grandson. |
| Mackennal's contacts with the royal family had been | | Mackennal's contacts with the royal family had been |
| established by his work first on the coronation medals for | | established by his work first on the coronation medals for |
| George V and Queen Mary in May 1911. He was then chosen | | George V and Queen Mary in May 1911. He was then chosen |
| to mckc both the equestrian statue of King Edward VII for | | to mckc both the equestrian statue of King Edward VII for |
| Waterloo Place and the recumbent effigy for Windsor. | | Waterloo Place and the recumbent effigy for Windsor. |
| Another version of the bust was in the collection of Sir Leon | | Another version of the bust was in the collection of Sir Leon |
| and Iddy Trout (sold Christie's, at their home, Everton Park, | | and Iddy Trout (sold Christie's, at their home, Everton Park, |
| Brisbane, 6-7 June 1987, lot 63a). This was dated 1911 and | | Brisbane, 6-7 June 1987, lot 63a). This was dated 1911 and |
| was mounted on a tapering chamfercd marble pedestal with | | was mounted on a tapering chamfercd marble pedestal with |
| ormolu mounts (53 cms. in height with the bust) which must | | ormolu mounts (53 cms. in height with the bust) which must |
| have been dcsigncd by or for the sculptor. This bust with | | have been dcsigncd by or for the sculptor. This bust with |
| pedestal (or an identical repetition) was lot 102 at Sotheby's, | | pedestal (or an identical repetition) was lot 102 at Sotheby's, |
| Ijondon, on 30 March 1990. | | Ijondon, on 30 March 1990. |
| n | | n | @@PROCESS |
| 123 | | 123 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Unknown foundry | | Unknown foundry |
| After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863- | | After Sir Edgar Bertram MACKENNAL Kcvo, RA ( 1863- |
| 1931) | | 1931) |
| n | | n | @@PROCESS |
| 541. Betty | | 541. Betty |
| 31.8 cms. (height, excluding base); 17.7 cms. (height of base); | | 31.8 cms. (height, excluding base); 17.7 cms. (height of base); |
| 15 cms. (length and width of base) | | 15 cms. (length and width of base) |
| Bronze with a slightly green to dark brown patina. Hollow, lost-wax, | | Bronze with a slightly green to dark brown patina. Hollow, lost-wax, |
| cast. `MACKENNAL' chiselled on the metal at the back of the | | cast. `MACKENNAL' chiselled on the metal at the back of the |
| neck. Mounted on a base of black marble. | | neck. Mounted on a base of black marble. |
| Presented by the sculptor's only daughter Mrs C. A. Kraay in 1952, | | Presented by the sculptor's only daughter Mrs C. A. Kraay in 1952, |
| the year in which her son Colin Mackennal Kraay became an | | the year in which her son Colin Mackennal Kraay became an |
| Assistant Keeper in the Heberden Coin Room. Registered on 13 | | Assistant Keeper in the Heberden Coin Room. Registered on 13 |
| November and listed in the A7¢»#¢/ RcPo7¢ ( 1952), 48, as `portrait | | November and listed in the A7¢»#¢/ RcPo7¢ ( 1952), 48, as `portrait |
| bust'. | | bust'. |
| The sculpture was cxhibitcd at the Royal Academy in 1925 | | The sculpture was cxhibitcd at the Royal Academy in 1925 |
| (no.1391, BGrty, illustrated in Ray#/ Ac¢dcowy I//#ffr¢£G¢ | | (no.1391, BGrty, illustrated in Ray#/ Ac¢dcowy I//#ffr¢£G¢ |
| ( 1925),128). Other female busts with similady finiliar names | | ( 1925),128). Other female busts with similady finiliar names |
| Uo¢„ and A4l¢7/.o7?.c) were exhibited in the same year. The bust | | Uo¢„ and A4l¢7/.o7?.c) were exhibited in the same year. The bust |
| seems to have remained in the artist's possession (unless more | | seems to have remained in the artist's possession (unless more |
| than one cast was made of it), for it was included in the Fine | | than one cast was made of it), for it was included in the Fine |
| Art Society's Memorial Exhibition of Sfzzf„c#Gf ky £¢e Lefg S¢.r | | Art Society's Memorial Exhibition of Sfzzf„c#Gf ky £¢e Lefg S¢.r |
| Bc#7i¢ow A4l¢c&G"»¢/ in May 1932 (as no.13), and was | | Bc#7i¢ow A4l¢c&G"»¢/ in May 1932 (as no.13), and was |
| ex].jib.ited in the Commemorative lhahibition Of Works ky Late | | ex].jib.ited in the Commemorative lhahibition Of Works ky Late |
| Meow4cgrf at the Royal Academy in the following year (no. 238, | | Meow4cgrf at the Royal Academy in the following year (no. 238, |
| lent by Ijady Mackennal). | | lent by Ijady Mackennal). |
| n | | n | @@PROCESS |
| 124 | | 124 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Baron Carlo MAROCHETTI RA ( 1805nd7) | | Baron Carlo MAROCHETTI RA ( 1805nd7) |
| n | | n | @@PROCESS |
| 542. Model for the tomb of princess | | 542. Model for the tomb of princess |
| Elizabeth Stuart ( untraced) | | Elizabeth Stuart ( untraced) |
| 61 cms. (2 feet) (length) | | 61 cms. (2 feet) (length) |
| Stone and bronze. | | Stone and bronze. |
| In the Donations Book for 1892 George Wyatt (son of the donor | | In the Donations Book for 1892 George Wyatt (son of the donor |
| of Roubiliac's owode//a for the Handel monument-No. 565) is | | of Roubiliac's owode//a for the Handel monument-No. 565) is |
| recorded as having given `Marochetti's tomb model of Princess | | recorded as having given `Marochetti's tomb model of Princess |
| Elizabeth'. It is recorded as 2 feet in length. In the i4ce„"a/ Rcporf | | Elizabeth'. It is recorded as 2 feet in length. In the i4ce„"a/ Rcporf |
| of the Curators Of the University Galleries Of the idilowing yea.I (p. \) | | of the Curators Of the University Galleries Of the idilowing yea.I (p. \) |
| it is given as a bequest: `a small model in stone of the tomb of | | it is given as a bequest: `a small model in stone of the tomb of |
| Princess Elizabeth, with figure in bronze by Baron Marochetti'. The | | Princess Elizabeth, with figure in bronze by Baron Marochetti'. The |
| minutes of the Curators of the University Galleries reveal that it was | | minutes of the Curators of the University Galleries reveal that it was |
| officially accepted on 2 February 1893 (p.120) but also that the | | officially accepted on 2 February 1893 (p.120) but also that the |
| stonework had been `damaged for want of care in packing' (p.123). | | stonework had been `damaged for want of care in packing' (p.123). |
| I have found no other subsequent archival reference to the model | | I have found no other subsequent archival reference to the model |
| and the model itself has not been traced. | | and the model itself has not been traced. |
| Marochetti was trained as a sculptor in Paris, studied in Rome | | Marochetti was trained as a sculptor in Paris, studied in Rome |
| in the 1820s, exhibited at the Paris Salon after 1827, and | | in the 1820s, exhibited at the Paris Salon after 1827, and |
| obtained major commissions in both Italy and France, | | obtained major commissions in both Italy and France, |
| including the colossal bronze statue of Duke Emanuele | | including the colossal bronze statue of Duke Emanuele |
| Filiberto for his native Turin (cast in Paris in 1833, erected in | | Filiberto for his native Turin (cast in Paris in 1833, erected in |
| Turin in 1838) and the great marble altarpiece of the | | Turin in 1838) and the great marble altarpiece of the |
| Madelcine in Paris ( 1841). In 1848 hc followed King Louis- | | Madelcine in Paris ( 1841). In 1848 hc followed King Louis- |
| Philippe into exile in England where he commenced | | Philippe into exile in England where he commenced |
| exhibiting in 1851. Hc enjoyed the patronage of the British | | exhibiting in 1851. Hc enjoyed the patronage of the British |
| royal family, obtained major public commissions, and enjoyed | | royal family, obtained major public commissions, and enjoyed |
| a flourishing practice as a portraitist-his experience working | | a flourishing practice as a portraitist-his experience working |
| in bronze as well as his international reputation compensating | | in bronze as well as his international reputation compensating |
| for the hostility of British artists and critics. The `Princcss | | for the hostility of British artists and critics. The `Princcss |
| Elizabeth' referred to is, as Philip Ward-Jackson pointed out | | Elizabeth' referred to is, as Philip Ward-Jackson pointed out |
| to mc, the daughter of King Charles I. She died in 1650 when | | to mc, the daughter of King Charles I. She died in 1650 when |
| in captivity in Carisbrook Castle on the Isle of wight. Her | | in captivity in Carisbrook Castle on the Isle of wight. Her |
| monument was erected `as a token of respect for her virtues | | monument was erected `as a token of respect for her virtues |
| and sympathy for her misfortunes' by Queen Victoria in St | | and sympathy for her misfortunes' by Queen Victoria in St |
| Thomas, Ncwport (Isle of wight) where she was buried. The | | Thomas, Ncwport (Isle of wight) where she was buried. The |
| drl is represented in marble stretched out in her fine clothes | | drl is represented in marble stretched out in her fine clothes |
| as if asleep, a huge Bible serving as her pillow. The prison | | as if asleep, a huge Bible serving as her pillow. The prison |
| bars arc indicated in relief in the Gothic niche in which the | | bars arc indicated in relief in the Gothic niche in which the |
| tomb is set. The tomb was complete by December 1856 when | | tomb is set. The tomb was complete by December 1856 when |
| the queen visited it. Marochetti had been first approached in | | the queen visited it. Marochetti had been first approached in |
| the summer of 1854 concerning the commission. Miss Pamela | | the summer of 1854 concerning the commission. Miss Pamela |
| Clark, Deputy ReSstrar of the Royal Archives at Windsor | | Clark, Deputy ReSstrar of the Royal Archives at Windsor |
| Castle, who has supplied these dates also points out that there | | Castle, who has supplied these dates also points out that there |
| is a payment of£35 to Marochetti in February 1858 for a | | is a payment of£35 to Marochetti in February 1858 for a |
| `copy' of the monument which had been supplied to the | | `copy' of the monument which had been supplied to the |
| queen `beforc Christmas'. This may well be a rcfcrence to | | queen `beforc Christmas'. This may well be a rcfcrence to |
| the model. | | the model. |
| Baron Carlo Marochctti, Monument to Princess Elizabeth, St. Thomas, Newport | | Baron Carlo Marochctti, Monument to Princess Elizabeth, St. Thomas, Newport |
| ( Photo courtesy of the Conway Library, Courtauld Institute of Art) | | ( Photo courtesy of the Conway Library, Courtauld Institute of Art) |
| n | | n | @@PROCESS |
| 125 | | 125 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Royal College of Art foundry | | Royal College of Art foundry |
| Bcrnard MEADOWS (b.1915) | | Bcrnard MEADOWS (b.1915) |
| n | | n | @@PROCESS |
| 543. Help | | 543. Help |
| 13.6 cms. (height); 40 cms. (length); 15 cms. (width) | | 13.6 cms. (height); 40 cms. (length); 15 cms. (width) |
| Polished bronze. Hollow, lost-wax cast in thrcc pieces, bolted | | Polished bronze. Hollow, lost-wax cast in thrcc pieces, bolted |
| together, the larger cubic piece open below. Chiselled in the metal: | | together, the larger cubic piece open below. Chiselled in the metal: |
| ` ® 0/6' on the underside of the cubic piccc. | | ` ® 0/6' on the underside of the cubic piccc. |
| From the collection of Christopher Hcwctt ( 1938-83). Given to | | From the collection of Christopher Hcwctt ( 1938-83). Given to |
| the Museum by his finily in June 1985 and included in the | | the Museum by his finily in June 1985 and included in the |
| exhibition celebrating the dft held in the MCAlpinc Gallery in January | | exhibition celebrating the dft held in the MCAlpinc Gallery in January |
| and Fchruary 1987 (no. 98 in the catalogue). Two other sculptures | | and Fchruary 1987 (no. 98 in the catalogue). Two other sculptures |
| by Meadows (Nos. 544, 545) wcrc also included in the Sft together | | by Meadows (Nos. 544, 545) wcrc also included in the Sft together |
| with twelve drawings. Meadows had exhibited at Hcwett's | | with twelve drawings. Meadows had exhibited at Hcwett's |
| Taranman Gallery in 1975 and 1978. | | Taranman Gallery in 1975 and 1978. |
| This bronze was cast in 1970 in an edition of six with one | | This bronze was cast in 1970 in an edition of six with one |
| additional artist's cast (opus 92). There is a version nearly | | additional artist's cast (opus 92). There is a version nearly |
| twice as large which was cast in an edition of the same size in | | twice as large which was cast in an edition of the same size in |
| 1964 (opus 81 ) of which one example is in Bristol City Art | | 1964 (opus 81 ) of which one example is in Bristol City Art |
| Gallery and Museum, presented to the Gallery partly by the | | Gallery and Museum, presented to the Gallery partly by the |
| Museum's Friends in 1969. The sculpture is typical of the | | Museum's Friends in 1969. The sculpture is typical of the |
| abstract work composed of interlocked elcmcnts with strong | | abstract work composed of interlocked elcmcnts with strong |
| anatomical associations which the followers of Henry Moorc | | anatomical associations which the followers of Henry Moorc |
| favoured. The sculptor supervised both the casting and | | favoured. The sculptor supervised both the casting and |
| polishing. | | polishing. |
| ffi==is=Tng=L:-rfeRE =.`_i`.`. | | ffi==is=Tng=L:-rfeRE =.`_i`.`. |
| n | | n | @@PROCESS |
| 126 | | 126 |
| Royal College of Art foundry | | Royal College of Art foundry |
| Bernard MEADOWS (b.1915) | | Bernard MEADOWS (b.1915) |
| n | | n | @@PROCESS |
| 544. Frightened figure | | 544. Frightened figure |
| 29.2 cms. (height of bronze); 4.2 cms. (height of plinth); | | 29.2 cms. (height of bronze); 4.2 cms. (height of plinth); |
| 19.5 cms. (length of plinth); 15.7 cms. (width of plinth) | | 19.5 cms. (length of plinth); 15.7 cms. (width of plinth) |
| Polished bronze. Hollow, lost-wax cast in three pieces, bolted | | Polished bronze. Hollow, lost-wax cast in three pieces, bolted |
| together. The smaller bulbous clemcnts are more highly polished. | | together. The smaller bulbous clemcnts are more highly polished. |
| Mounted on a plinth of travertinc. | | Mounted on a plinth of travertinc. |
| From the collection of Christopher Hcwett ( 1938T83). Given to | | From the collection of Christopher Hcwett ( 1938T83). Given to |
| the Museum by his finfty in June 1985 and included in the | | the Museum by his finfty in June 1985 and included in the |
| cxhibitioncelcbratingtheSfthcldinthcMCAlpincGalleryinJanuary | | cxhibitioncelcbratingtheSfthcldinthcMCAlpincGalleryinJanuary |
| and February 1987 (no. 97 in the catalogue). Two other sculptures | | and February 1987 (no. 97 in the catalogue). Two other sculptures |
| by Meadows (Nos. 543, 545) were also included in the aft together | | by Meadows (Nos. 543, 545) were also included in the aft together |
| with twelve drawings. Meadows had exhibited at Hewett's | | with twelve drawings. Meadows had exhibited at Hewett's |
| Taranman Gallery in 1975 and 1978. | | Taranman Gallery in 1975 and 1978. |
| The sculpture was made in 1976. There was an edition of six | | The sculpture was made in 1976. There was an edition of six |
| casts with one additional artist's cast. The sculptor supervised | | casts with one additional artist's cast. The sculptor supervised |
| both the casting and polishing. | | both the casting and polishing. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| ife ,` .,-,..-.. '-, i | | ife ,` .,-,..-.. '-, i |
| n | | n | @@PROCESS |
| 127 | | 127 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Royal College of Art foundry | | Royal College of Art foundry |
| Bernard MEADOWS (b.1915) | | Bernard MEADOWS (b.1915) |
| n | | n | @@PROCESS |
| 545. Watchers | | 545. Watchers |
| 23.3 cms, (height); 29 cms. (Length) | | 23.3 cms, (height); 29 cms. (Length) |
| Polished bronze. Hollow, lost-wax cast in three pieces, bolted | | Polished bronze. Hollow, lost-wax cast in three pieces, bolted |
| together, the cubic piece open below. Chiselled in the metal: ` ® | | together, the cubic piece open below. Chiselled in the metal: ` ® |
| 1/6' on the underside of the latter where sawn off. | | 1/6' on the underside of the latter where sawn off. |
| From the collection of Christopher Hewctt ( 1938-83). Given to | | From the collection of Christopher Hewctt ( 1938-83). Given to |
| the Museum by his family in June 1985 and included in the | | the Museum by his family in June 1985 and included in the |
| exhibition celebrating the gift held in the MCAlpine Gallery in January | | exhibition celebrating the gift held in the MCAlpine Gallery in January |
| and February 1987 (no. 99 in the catalogue). Two other sculptures | | and February 1987 (no. 99 in the catalogue). Two other sculptures |
| by Meadows (Nos. 543, 544) were also included in the aft together | | by Meadows (Nos. 543, 544) were also included in the aft together |
| with twelve drawings. Meadows had exhibited at Hewett's | | with twelve drawings. Meadows had exhibited at Hewett's |
| Taranman Gallery in 1975 and 1978. | | Taranman Gallery in 1975 and 1978. |
| The sculpture was cast in 1979 in an edition of six with an | | The sculpture was cast in 1979 in an edition of six with an |
| artist's cast. A unique cast of a version twice as large is in the | | artist's cast. A unique cast of a version twice as large is in the |
| Open Air Museurn, Hakone, Japan. The sculptor supervised | | Open Air Museurn, Hakone, Japan. The sculptor supervised |
| both the casting and polishing. | | both the casting and polishing. |
| n | | n | @@PROCESS |
| 128 | | 128 |
| Paul Raphael MONTFORD FRBs ( 1868-1838) | | Paul Raphael MONTFORD FRBs ( 1868-1838) |
| n | | n | @@PROCESS |
| 546. Victor Rienaecker | | 546. Victor Rienaecker |
| 37.6 cms. (height); 17.2 cms. (length at base moulding); | | 37.6 cms. (height); 17.2 cms. (length at base moulding); |
| 11.3 cms. (width at base moulding) | | 11.3 cms. (width at base moulding) |
| Bronze with a dark brown to chestnut patina, grey-green in the | | Bronze with a dark brown to chestnut patina, grey-green in the |
| decpcr hollows. Hollow, lost-wax, cast. Incised on the back of the | | decpcr hollows. Hollow, lost-wax, cast. Incised on the back of the |
| bust in a cursive script in the model: `Paul R. Montford / 1922 Sc.' | | bust in a cursive script in the model: `Paul R. Montford / 1922 Sc.' |
| Unknown provenance. Presumably presented by the sitter or in his | | Unknown provenance. Presumably presented by the sitter or in his |
| honour or memory. | | honour or memory. |
| Montford, the son of Horace Montford, also a sculptor, won | | Montford, the son of Horace Montford, also a sculptor, won |
| the Royal Academy gold medal and travel studentship in | | the Royal Academy gold medal and travel studentship in |
| 1891. In 1898 he was appointed modelling master at Chelsea | | 1891. In 1898 he was appointed modelling master at Chelsea |
| Polytechnic. Montford's most notable achievements are in | | Polytechnic. Montford's most notable achievements are in |
| the field of large architectural decoration-n Battcrsca Town | | the field of large architectural decoration-n Battcrsca Town |
| Hall (designs exhibited 1894), Cardiff City Ham and Law | | Hall (designs exhibited 1894), Cardiff City Ham and Law |
| Courts (design exhibited in 1903, model in 1905), the Royal | | Courts (design exhibited in 1903, model in 1905), the Royal |
| College of science and Technology (model cxhibitcd in | | College of science and Technology (model cxhibitcd in |
| 1916), and, in bronze, the four groups on the Kelvin Way | | 1916), and, in bronze, the four groups on the Kelvin Way |
| Bridge, Kclvingrove Park, Glasgow (exhibited in 1917 and | | Bridge, Kclvingrove Park, Glasgow (exhibited in 1917 and |
| 1918). This portrait must bc one of his last works executed | | 1918). This portrait must bc one of his last works executed |
| in the country for he emigrated to Australia in the same year | | in the country for he emigrated to Australia in the same year |
| (whcrc he executed among other works the gable relief for | | (whcrc he executed among other works the gable relief for |
| the Melbourne War Memorial). In its vulnerable pensive | | the Melbourne War Memorial). In its vulnerable pensive |
| mood and sketchy finish it resembles the earliest portrait by | | mood and sketchy finish it resembles the earliest portrait by |
| him to have come to my attention: the curious medallion dated | | him to have come to my attention: the curious medallion dated |
| 1893 with an easel-shaped ground (Sotheby's, I.ondon, 18 | | 1893 with an easel-shaped ground (Sotheby's, I.ondon, 18 |
| March 1987, lot 174-no.1690 in the Academy Exhibition | | March 1987, lot 174-no.1690 in the Academy Exhibition |
| of 1893). The portrait of RIenaecker may have been the | | of 1893). The portrait of RIenaecker may have been the |
| `portrait bust, bronze' which Montford exhibited at the Royal | | `portrait bust, bronze' which Montford exhibited at the Royal |
| Academy in 1922 (no.1345). But Geoffrey Giddings, in the | | Academy in 1922 (no.1345). But Geoffrey Giddings, in the |
| survey of Montford's work published in A„c4G.£gcf'f /o„#g¢/ | | survey of Montford's work published in A„c4G.£gcf'f /o„#g¢/ |
| for December 1922 (56: 789-92), observed that Montford | | for December 1922 (56: 789-92), observed that Montford |
| had `some fifty' busts to his credit. | | had `some fifty' busts to his credit. |
| Victor RIenaecker was appointed to succeed the Hon. A. | | Victor RIenaecker was appointed to succeed the Hon. A. |
| Shirley in 1929 as Assistant Keeper of the Department of | | Shirley in 1929 as Assistant Keeper of the Department of |
| Fine Art. He had, previous to this date, been a generous | | Fine Art. He had, previous to this date, been a generous |
| benefactor of the Museum, lending watercolours in 1924 and | | benefactor of the Museum, lending watercolours in 1924 and |
| 1925, for example. Hc resigned in July 1931 shordy after Bell | | 1925, for example. Hc resigned in July 1931 shordy after Bell |
| and was replaced by Ian Robertson in 1932. He remained a | | and was replaced by Ian Robertson in 1932. He remained a |
| fiend of the Department to which he made Sfts in 1953. | | fiend of the Department to which he made Sfts in 1953. |
| n | | n | @@PROCESS |
| 129 | | 129 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Alexander MUNRO ( 1825-71 ) | | Alexander MUNRO ( 1825-71 ) |
| n | | n | @@PROCESS |
| 547. Profile portrait of John | | 547. Profile portrait of John |
| Everett rmllais | | Everett rmllais |
| 56 cm. (height within frame); 45.5 cms. (width within frame); | | 56 cm. (height within frame); 45.5 cms. (width within frame); |
| 67.5 cms. (height of frame); 57 cms. (width of frame) | | 67.5 cms. (height of frame); 57 cms. (width of frame) |
| Plaster of Paris. The artist's monogram (an interlaced A and M) is | | Plaster of Paris. The artist's monogram (an interlaced A and M) is |
| scratched below the truncation of the neck. `ALEX. MUNRo. Sc' is | | scratched below the truncation of the neck. `ALEX. MUNRo. Sc' is |
| scratched on the truncation itself. The relief is set in its original | | scratched on the truncation itself. The relief is set in its original |
| frame: a reverse moulding of ebonizcd wood with a gold slip. | | frame: a reverse moulding of ebonizcd wood with a gold slip. |
| Given by Dr Acland on 16 Dcccmber 1856 (Minutes of the Curators | | Given by Dr Acland on 16 Dcccmber 1856 (Minutes of the Curators |
| of the University Galleries, p. 31) shordy after No. 548. For Acland | | of the University Galleries, p. 31) shordy after No. 548. For Acland |
| see No. 549. Placed on exhibition in the newly decorated Combe | | see No. 549. Placed on exhibition in the newly decorated Combe |
| Gallery in 1988, having been in storage for about half a century. | | Gallery in 1988, having been in storage for about half a century. |
| The portrait was exhibited-in what medium is not clear-at | | The portrait was exhibited-in what medium is not clear-at |
| the Royal Academy in 1854 (no. 1523). A version of | | the Royal Academy in 1854 (no. 1523). A version of |
| uncertain medium is said to be in the collection of Sir Ralph | | uncertain medium is said to be in the collection of Sir Ralph |
| Miuais, another, also of plaster, less sharp and less clear, and | | Miuais, another, also of plaster, less sharp and less clear, and |
| in a fat laurel wreath frame, is in the National Portrait Gallery, | | in a fat laurel wreath frame, is in the National Portrait Gallery, |
| I.ondon (no. 4959, given by the artist's granddaughter Mrs | | I.ondon (no. 4959, given by the artist's granddaughter Mrs |
| Katharine Macdonald in 1973), and another plaster (without | | Katharine Macdonald in 1973), and another plaster (without |
| n | | n | @@PROCESS |
| 130 | | 130 |
| the monogram) belonged in 1969 to Mrs Dorothy Walker | | the monogram) belonged in 1969 to Mrs Dorothy Walker |
| of Ncwburgh, Fife (letter in the Department's archive of 22 | | of Ncwburgh, Fife (letter in the Department's archive of 22 |
| January 1969). A xerox of an old reproduction of the | | January 1969). A xerox of an old reproduction of the |
| medallion portrait enclosed by Mrs Walker has a caption | | medallion portrait enclosed by Mrs Walker has a caption |
| identifying it as `from the marble' and dating it to 1853-it | | identifying it as `from the marble' and dating it to 1853-it |
| is indeed likely that the model was commenced even if not | | is indeed likely that the model was commenced even if not |
| completed in that year. 1854 is the date which appears on | | completed in that year. 1854 is the date which appears on |
| the most exquisite of all Munro's medallion portraits in c¢po | | the most exquisite of all Munro's medallion portraits in c¢po |
| r¢./¢.ova-that of the wife of the donor of the Ashmolcan's | | r¢./¢.ova-that of the wife of the donor of the Ashmolcan's |
| plaster, Sarali Acland, of which the marble origival, framed in | | plaster, Sarali Acland, of which the marble origival, framed in |
| Verom marble, was, after her death in 1878, adopted for her | | Verom marble, was, after her death in 1878, adopted for her |
| monument in Christ Church Cathedral, and of which a marble | | monument in Christ Church Cathedral, and of which a marble |
| replica, framed in Siena marble, was placed in the entrance | | replica, framed in Siena marble, was placed in the entrance |
| ham of the Acland Nursing Home in Oxford founded in her | | ham of the Acland Nursing Home in Oxford founded in her |
| memory. Medallion portraits of ladies were, it seems, a | | memory. Medallion portraits of ladies were, it seems, a |
| speciality of the artist in the early 1850s-nc of I,ady | | speciality of the artist in the early 1850s-nc of I,ady |
| Constancc Grosvenor in marble had bccn exhibited at the | | Constancc Grosvenor in marble had bccn exhibited at the |
| Academy in 1853 (no. 1460) and one of I.ady Alwyne | | Academy in 1853 (no. 1460) and one of I.ady Alwyne |
| Compton was also exhibited in 1854 (no. 1524)-nd the | | Compton was also exhibited in 1854 (no. 1524)-nd the |
| portrait of Mfllais has a softness in its curls and a delicaey in | | portrait of Mfllais has a softness in its curls and a delicaey in |
| its profile worthy of these. | | its profile worthy of these. |
| Alexander MUNRO ( 1825-71 ) | | Alexander MUNRO ( 1825-71 ) |
| n | | n | @@PROCESS |
| 548. Profile medallion portrait of | | 548. Profile medallion portrait of |
| the Revd Dr Henry Wellesley | | the Revd Dr Henry Wellesley |
| 54 cms. (diameter of marble as visible); 74.3 cms. (height and | | 54 cms. (diameter of marble as visible); 74.3 cms. (height and |
| width of frame) | | width of frame) |
| Carrara marble, slightly stained with grey and rusty patches, also | | Carrara marble, slightly stained with grey and rusty patches, also |
| discoloured with some surface dirt. The artist's monogram (an A | | discoloured with some surface dirt. The artist's monogram (an A |
| and M interlaced, but without the cross-bar of the A in this case) is | | and M interlaced, but without the cross-bar of the A in this case) is |
| chiselled below the truncation of the neck. The relief is set in its | | chiselled below the truncation of the neck. The relief is set in its |
| original frame: a plain flat oak border with spandrels of deal, with a | | original frame: a plain flat oak border with spandrels of deal, with a |
| sanded texture, gilded, now opening at the joins. A brass plaque | | sanded texture, gilded, now opening at the joins. A brass plaque |
| on the frame is engraved: `HENRICI. WELLESLEy. S T.P /ARTTUM. | | on the frame is engraved: `HENRICI. WELLESLEy. S T.P /ARTTUM. |
| ELEGANTIUM. FAVTORIS. CULTISSIMI / HANG. IMAGINEM. | | ELEGANTIUM. FAVTORIS. CULTISSIMI / HANG. IMAGINEM. |
| ECTYPAM / S_OCIETAS. OXON. ARTIBUS. COLENDIS. DEDITA / FAG. | | ECTYPAM / S_OCIETAS. OXON. ARTIBUS. COLENDIS. DEDITA / FAG. |
| CUR. ;As fro cccLVI. ' | | CUR. ;As fro cccLVI. ' |
| Commissioned, as the inscription above makes clear, in 1856, the | | Commissioned, as the inscription above makes clear, in 1856, the |
| portrait was presented by members of the Oxford Art Society to | | portrait was presented by members of the Oxford Art Society to |
| the University Galleries in 1857 as is recorded in the manuscript | | the University Galleries in 1857 as is recorded in the manuscript |
| Donations Book, p. 48. The Minutes of the Curators of the | | Donations Book, p. 48. The Minutes of the Curators of the |
| University Galleries (p. 31) indicate that the ctft was proposed on | | University Galleries (p. 31) indicate that the ctft was proposed on |
| the Socicty's behalf by the Revd George Butler and accepted on 11 | | the Socicty's behalf by the Revd George Butler and accepted on 11 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| November 1856. Exhibited in the galleries in the nineteenth century, | | November 1856. Exhibited in the galleries in the nineteenth century, |
| but in rcccnt decades kept in basement storage, the relief was placed | | but in rcccnt decades kept in basement storage, the relief was placed |
| on exhibition in the newly decorated Combc Gallery in 1988. | | on exhibition in the newly decorated Combc Gallery in 1988. |
| The portrait was exhibited by Munro at the Royal Academy | | The portrait was exhibited by Munro at the Royal Academy |
| in 1856 (no.1279, `Marblc Medauion of Rev. Dr. Wellesley | | in 1856 (no.1279, `Marblc Medauion of Rev. Dr. Wellesley |
| Principal of New Inn Hall, Oxford, President of Oxford Art | | Principal of New Inn Hall, Oxford, President of Oxford Art |
| Society'). Wellesley, more than any other senior member of | | Society'). Wellesley, more than any other senior member of |
| the University, was responsible for securing for the University | | the University, was responsible for securing for the University |
| Gaueries Sir Thomas Lawrcnce's collection of drawings by | | Gaueries Sir Thomas Lawrcnce's collection of drawings by |
| Raphael and Michclangclo and it was this, above all, that the | | Raphael and Michclangclo and it was this, above all, that the |
| commission and presentation of this portrait commemorated. | | commission and presentation of this portrait commemorated. |
| The Art Society's attention had perhaps been drawn to Munro | | The Art Society's attention had perhaps been drawn to Munro |
| by his mcdahion portraits of Mrs Acland of 1854 (for which | | by his mcdahion portraits of Mrs Acland of 1854 (for which |
| see No. 547) and of Master Henry Acland (exhibited at the | | see No. 547) and of Master Henry Acland (exhibited at the |
| Royal Academy in 1855, no. 1485), for Henry Acland, this | | Royal Academy in 1855, no. 1485), for Henry Acland, this |
| boy's father (No. 549) was after Wellesley perhaps the most | | boy's father (No. 549) was after Wellesley perhaps the most |
| influential figure in the cultural life of the University. Acland | | influential figure in the cultural life of the University. Acland |
| himself presented Munro's medallion of Millais (No. 547) to | | himself presented Munro's medallion of Millais (No. 547) to |
| the University Galleries a little over a month later. Wellesley | | the University Galleries a little over a month later. Wellesley |
| was stiu a Curator of the Galleries in 1856. A decade later his | | was stiu a Curator of the Galleries in 1856. A decade later his |
| place was taken by Acland. | | place was taken by Acland. |
| n | | n | @@PROCESS |
| 131 | | 131 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Alcxandcr MUNRO ( 1825-71 ) | | Alcxandcr MUNRO ( 1825-71 ) |
| n | | n | @@PROCESS |
| 549. Bust portrait of professor | | 549. Bust portrait of professor |
| Henry Wentworth Acland | | Henry Wentworth Acland |
| 67.5 cms. (height); 29 cms. (length across lowest portion of | | 67.5 cms. (height); 29 cms. (length across lowest portion of |
| chest); 28 cms. (length across base); 22.3 cms. (width) | | chest); 28 cms. (length across base); 22.3 cms. (width) |
| Plaster of Paris. Hollow cast with no evident seams. The plaster has | | Plaster of Paris. Hollow cast with no evident seams. The plaster has |
| bccn stained to a stone colour. Minor scratches on the nose, cheek, | | bccn stained to a stone colour. Minor scratches on the nose, cheek, |
| edge of the shoulder, and geometrical termination of the bust reveal | | edge of the shoulder, and geometrical termination of the bust reveal |
| the white of the plaster. The chest is slightly mottled with mould | | the white of the plaster. The chest is slightly mottled with mould |
| stains. | | stains. |
| Transferred from the Bodleian Ijibrary in 19 02 . | | Transferred from the Bodleian Ijibrary in 19 02 . |
| Munro's bust of Dr Acland was cxhibitcd as a marble at the | | Munro's bust of Dr Acland was cxhibitcd as a marble at the |
| Royal Academy exhibition in 1857 (no. 1280). The marble | | Royal Academy exhibition in 1857 (no. 1280). The marble |
| version-r at least a marble version-signed on the proper | | version-r at least a marble version-signed on the proper |
| left side of the geometrical termination of the bust `ALEx. | | left side of the geometrical termination of the bust `ALEx. |
| MUNRo. Sc. 1857', is in the Acland Nursing Home in the | | MUNRo. Sc. 1857', is in the Acland Nursing Home in the |
| Woodstock Road, near the reception desk. It differs from | | Woodstock Road, near the reception desk. It differs from |
| this plaster in that the lower part of the chest is terminated in | | this plaster in that the lower part of the chest is terminated in |
| a briefer, more complex, but no more naturalistic manner. | | a briefer, more complex, but no more naturalistic manner. |
| The plaster must therefore record the oriSnal clay model | | The plaster must therefore record the oriSnal clay model |
| rather than reproduce the marble. The following inscription | | rather than reproduce the marble. The following inscription |
| on the marble refers to the circumstances of its commission | | on the marble refers to the circumstances of its commission |
| following Acland's gallant conduct to victims of a shipwreck: | | following Acland's gallant conduct to victims of a shipwreck: |
| `UXORI HENRICI DYKE ACIAND M.D. / MEDICINjE | | `UXORI HENRICI DYKE ACIAND M.D. / MEDICINjE |
| pROFEssoRls REGII ET cLINlcALls / cusTODls BIBLloTHEcrf | | pROFEssoRls REGII ET cLINlcALls / cusTODls BIBLloTHEcrf |
| RADCLIFFIANffi / IN UNIVERSITATE OXONIENSI / IIANC | | RADCLIFFIANffi / IN UNIVERSITATE OXONIENSI / IIANC |
| MARITI EJUS EFFIGIEM / D.D. / AMICI IXXV / VITAM SIBI | | MARITI EJUS EFFIGIEM / D.D. / AMICI IXXV / VITAM SIBI |
| ACADEMlffi MULTIS PRETEREA / CARAM ET UTILEM / E | | ACADEMlffi MULTIS PRETEREA / CARAM ET UTILEM / E |
| NAUFRAGII pERIcuLO sOsplTEM / GRATUIANTEs. ' A small | | NAUFRAGII pERIcuLO sOsplTEM / GRATUIANTEs. ' A small |
| plaster version of the bust is in a private collection in Oxford | | plaster version of the bust is in a private collection in Oxford |
| and it is possible that an edition of such was cast for | | and it is possible that an edition of such was cast for |
| distribution to the grateful friends. | | distribution to the grateful friends. |
| Henry Acland ( 1815-1900) was one ofthc most influential, | | Henry Acland ( 1815-1900) was one ofthc most influential, |
| and attractive, figures in the University of Oxford in the | | and attractive, figures in the University of Oxford in the |
| second half of the last century. The second son ofthc politician | | second half of the last century. The second son ofthc politician |
| and philanthropist Sir Thomas Dyke Acland ( 1787-1871 ) hc | | and philanthropist Sir Thomas Dyke Acland ( 1787-1871 ) hc |
| possessed as a young man many talents, including artistic | | possessed as a young man many talents, including artistic |
| ones, but, after 1840, he devoted himself chiefly to medicine. | | ones, but, after 1840, he devoted himself chiefly to medicine. |
| He was made reader in Anatomy at his old college of Christ | | He was made reader in Anatomy at his old college of Christ |
| Church in 1845, a Fcuow of the Royal Society in 1847, | | Church in 1845, a Fcuow of the Royal Society in 1847, |
| Radcliffe I.ibrarian, physician to the Radcliffe Infirmary, and | | Radcliffe I.ibrarian, physician to the Radcliffe Infirmary, and |
| Aldrichian Professor of Clinical Medicine in 1851, and ReSus | | Aldrichian Professor of Clinical Medicine in 1851, and ReSus |
| Professor of Medicine in 1857-the year in which this bust | | Professor of Medicine in 1857-the year in which this bust |
| was made. The bust also coincides with the building of the | | was made. The bust also coincides with the building of the |
| Oxford Museum (the foundation stone was laid in 1855 and | | Oxford Museum (the foundation stone was laid in 1855 and |
| it was opened in 1861) in the creation of which he played a | | it was opened in 1861) in the creation of which he played a |
| leading part. He was made a Curator of the University | | leading part. He was made a Curator of the University |
| Galleries in 1866. Acland was a close friend of John Ruskin | | Galleries in 1866. Acland was a close friend of John Ruskin |
| and it may have been Ruskin who first drew his attention to | | and it may have been Ruskin who first drew his attention to |
| Muuro. For Munro's bust of Mrs Acland see No. 547 and | | Muuro. For Munro's bust of Mrs Acland see No. 547 and |
| for his statues for the Oxford Museum see Nos. 550 and 551. | | for his statues for the Oxford Museum see Nos. 550 and 551. |
| Acland was created a baronet in 1890. | | Acland was created a baronet in 1890. |
| n | | n | @@PROCESS |
| 132 | | 132 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Alexander MUNRO ( 1825-71 ) | | Alexander MUNRO ( 1825-71 ) |
| n | | n | @@PROCESS |
| 550. Model for a statue of Galileo | | 550. Model for a statue of Galileo |
| 62.8 cms. (height including base); 3.9 cms. (height of base); | | 62.8 cms. (height including base); 3.9 cms. (height of base); |
| 25.1 cms. (diameter of base) | | 25.1 cms. (diameter of base) |
| Plaster of I'aris, coloured dark grey-black. Thick-walled, possibly | | Plaster of I'aris, coloured dark grey-black. Thick-walled, possibly |
| solid cast, attached to a solid base. Some white scratches on the | | solid cast, attached to a solid base. Some white scratches on the |
| base. | | base. |
| Given by Mr J. A. R. Munro in 1916. | | Given by Mr J. A. R. Munro in 1916. |
| Munro's stone statue of Galileo was one of the series of men | | Munro's stone statue of Galileo was one of the series of men |
| of science commissioned for the great hall of the Oxford | | of science commissioned for the great hall of the Oxford |
| University Museum c.1857. It remains in its oriSnal position | | University Museum c.1857. It remains in its oriSnal position |
| bctwccn columns 19 and 20. There are a number of minor | | bctwccn columns 19 and 20. There are a number of minor |
| differences between it and this model: in the statue the sleeves | | differences between it and this model: in the statue the sleeves |
| are wider and the base has been cut down to a square with | | are wider and the base has been cut down to a square with |
| chamfered corners to match the stepped corbel support-in | | chamfered corners to match the stepped corbel support-in |
| consequence the hcro's right foot projects over the edge. | | consequence the hcro's right foot projects over the edge. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Alexander MUNRO ( 1825-71 ) | | Alexander MUNRO ( 1825-71 ) |
| n | | n | @@PROCESS |
| 551. Model for a statue of | | 551. Model for a statue of |
| Hippocrates | | Hippocrates |
| 59 cms. (height including base); 3.2 cms. (height of base); 18 cms. | | 59 cms. (height including base); 3.2 cms. (height of base); 18 cms. |
| (diameter of base) | | (diameter of base) |
| Plaster of Paris, coloured dark grey-black. Solid cast. The scroll in | | Plaster of Paris, coloured dark grey-black. Solid cast. The scroll in |
| the figurc's right hand has been broken before the colouring. Some | | the figurc's right hand has been broken before the colouring. Some |
| white scratches on the base. | | white scratches on the base. |
| Given by Mr H. A. Munro in 1917. | | Given by Mr H. A. Munro in 1917. |
| Munro exhibited `Hippocratcs; Model of a statue to be | | Munro exhibited `Hippocratcs; Model of a statue to be |
| presented by John Ruskin, Esq„ to the New Museum at | | presented by John Ruskin, Esq„ to the New Museum at |
| Oxford' at the Royal Academy in 1857 (no. 1232). The statue | | Oxford' at the Royal Academy in 1857 (no. 1232). The statue |
| itself, carved out of stone, remains in its origival position | | itself, carved out of stone, remains in its origival position |
| between columns 6 and 7 of the University Museum. It differs | | between columns 6 and 7 of the University Museum. It differs |
| from this model only in minor respects: the caduceus in the | | from this model only in minor respects: the caduceus in the |
| larger statue is not confined to a recessed panel on the altar | | larger statue is not confined to a recessed panel on the altar |
| and the base is square with chamfercd comers. | | and the base is square with chamfercd comers. |
| n | | n | @@PROCESS |
| 134 | | 134 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Alexander MUNRO ( 1825-71 ) | | Alexander MUNRO ( 1825-71 ) |
| n | | n | @@PROCESS |
| 552. Seal in the form of a bust of a | | 552. Seal in the form of a bust of a |
| bearded warrior | | bearded warrior |
| 5.1 cms. (height) | | 5.1 cms. (height) |
| Hone stone. The faceted end of the shaft is engraved with the initials | | Hone stone. The faceted end of the shaft is engraved with the initials |
| DM in Gothic. The shaft is broken in two (it has been reassembled | | DM in Gothic. The shaft is broken in two (it has been reassembled |
| for photography). The artist's monogram (an A and M interlaced) | | for photography). The artist's monogram (an A and M interlaced) |
| is carved on the hollowed back of the bust. | | is carved on the hollowed back of the bust. |
| Given in 1947 by Amy Tetley of Ingelby, St Andrew's Place, | | Given in 1947 by Amy Tetley of Ingelby, St Andrew's Place, |
| Llandudno. Redstered on 21 April. Inherited by her from her father | | Llandudno. Redstered on 21 April. Inherited by her from her father |
| to whom it was given by the artist (see below). | | to whom it was given by the artist (see below). |
| The letter from the donor of 17 April 1947 preserved in the | | The letter from the donor of 17 April 1947 preserved in the |
| Dcpartmcnt's archive supplies all the information there is | | Dcpartmcnt's archive supplies all the information there is |
| about this mysterious, miniature sculpture: | | about this mysterious, miniature sculpture: |
| Dear Sir, After listening to that BBC charming talk on the Ashmolean | | Dear Sir, After listening to that BBC charming talk on the Ashmolean |
| in which the Pre-Raphaelites were given an honoured place, I | | in which the Pre-Raphaelites were given an honoured place, I |
| remembered this little figure which Alec Munro carved one night | | remembered this little figure which Alec Munro carved one night |
| when he and my father were having one of their night long confabs, | | when he and my father were having one of their night long confabs, |
| and which he tossed across to him with a grin, when it was finished. | | and which he tossed across to him with a grin, when it was finished. |
| My father was living then in Regent's Park and as they had been | | My father was living then in Regent's Park and as they had been |
| boys together in York they kept up the fuendship and spent many | | boys together in York they kept up the fuendship and spent many |
| long nights together. I imagine this little greek warrior, the work | | long nights together. I imagine this little greek warrior, the work |
| of the Pre-Raphaelite's early sculpture might enjoy a place among | | of the Pre-Raphaelite's early sculpture might enjoy a place among |
| the work of the men whom Alcc Munro had known and thought | | the work of the men whom Alcc Munro had known and thought |
| so much of. | | so much of. |
| The donor, it should be noted, is unlikely to have witnessed | | The donor, it should be noted, is unlikely to have witnessed |
| the circumstances she describes. The work may date from the | | the circumstances she describes. The work may date from the |
| carly 1860s when the artists in the circle of Rossetti turned | | carly 1860s when the artists in the circle of Rossetti turned |
| their attention to Greek subject-matter-the Trojan wars | | their attention to Greek subject-matter-the Trojan wars |
| especially-which as medieval purists they had shunned in the | | especially-which as medieval purists they had shunned in the |
| 1850s. A note in the Register reads, `From a slate pencil. | | 1850s. A note in the Register reads, `From a slate pencil. |
| Mrs Munro has some similar.' | | Mrs Munro has some similar.' |
| lk,.i`,,E',, | | lk,.i`,,E',, |
| n | | n | @@PROCESS |
| 135 | | 135 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Alcxandcr MUNRO ( 1825-71 ) | | Alcxandcr MUNRO ( 1825-71 ) |
| n | | n | @@PROCESS |
| 553. Bust portrait of professor | | 553. Bust portrait of professor |
| Goldwin Smith | | Goldwin Smith |
| 62.5 cms. (height); 28 cms. (length across chest); 22.I cms. | | 62.5 cms. (height); 28 cms. (length across chest); 22.I cms. |
| (width) | | (width) |
| Plaster of I'aris. Hollow cast, with no evident seams. The plaster has | | Plaster of I'aris. Hollow cast, with no evident seams. The plaster has |
| been stained to a stone colour but this has worn off in some areas, | | been stained to a stone colour but this has worn off in some areas, |
| especially on the chest. The nose has been broken off and lost. Chips | | especially on the chest. The nose has been broken off and lost. Chips |
| are missing from the forehead. There are mottled mould stains on | | are missing from the forehead. There are mottled mould stains on |
| the chest. | | the chest. |
| Given to the University by T. W. Jackson. In the Bodleian Library | | Given to the University by T. W. Jackson. In the Bodleian Library |
| in L9\2 (.8. ine Poole, Catalogtte Of Portraits in the Possession Of | | in L9\2 (.8. ine Poole, Catalogtte Of Portraits in the Possession Of |
| £4c U#;pe7TG.ty ..., i (Oxford, 1912), 127, no. 323). Transferred to | | £4c U#;pe7TG.ty ..., i (Oxford, 1912), 127, no. 323). Transferred to |
| the Ashmolean Museum at an unrccorded date. | | the Ashmolean Museum at an unrccorded date. |
| The subject of the bust was identified by Mrs Herta Simon | | The subject of the bust was identified by Mrs Herta Simon |
| of Park Town in the summer of 1988. She also discovered | | of Park Town in the summer of 1988. She also discovered |
| the marble version of the bust in the basement of the Art | | the marble version of the bust in the basement of the Art |
| Gallery of Ontario in Toronto in which city Professor | | Gallery of Ontario in Toronto in which city Professor |
| Goldwin Smith ( 1823-1910; Regivs professor of Modern | | Goldwin Smith ( 1823-1910; Regivs professor of Modern |
| History at Oxford 1855nd6) lived with his wife from 1871, | | History at Oxford 1855nd6) lived with his wife from 1871, |
| having emigrated to Noi±h America in 1868. A photograph | | having emigrated to Noi±h America in 1868. A photograph |
| of a version of the bust identifies it as made in Oxford in | | of a version of the bust identifies it as made in Oxford in |
| about 1866. | | about 1866. |
| n | | n | @@PROCESS |
| 136 | | 136 |
| :i;,,,;;fiijt,.,,`r't,j'',;+F¥.,;.I,t.irEL,",1;:,:i:1,:,'l'::::'.I:.'i:':,;:.:,i | | :i;,,,;;fiijt,.,,`r't,j'',;+F¥.,;.I,t.irEL,",1;:,:i:1,:,'l'::::'.I:.'i:':,;:.:,i |
| ;,;,:i:':,:;;#::,,,'apL#E;: | | ;,;,:i:':,:;;#::,,,'apL#E;: |
| Factory of J. NEALE, Hanley, Staffs. | | Factory of J. NEALE, Hanley, Staffs. |
| n | | n | @@PROCESS |
| 554. Vase ornamented with | | 554. Vase ornamented with |
| medallions, masks, and swags | | medallions, masks, and swags |
| 29 cms. (height including wooden plinth); 2.2 cms. (height of | | 29 cms. (height including wooden plinth); 2.2 cms. (height of |
| wooden plinth); 8.9 cms. (length of wooden plinth); 8,7 cms. | | wooden plinth); 8.9 cms. (length of wooden plinth); 8,7 cms. |
| (width of wooden plinth); 6 cms. (height of masks including | | (width of wooden plinth); 6 cms. (height of masks including |
| drapery below the neck) | | drapery below the neck) |
| Crcamware. The body of the vase is thrown and the foot separately | | Crcamware. The body of the vase is thrown and the foot separately |
| thrown and attached before firing. The ornaments are separately | | thrown and attached before firing. The ornaments are separately |
| cast and attached also before firing. There are chips missing from | | cast and attached also before firing. There are chips missing from |
| the higher rim to the belt of leaf omancnt and from the noses of | | the higher rim to the belt of leaf omancnt and from the noses of |
| both masks. An overlap in the applied belt of leaves around the body | | both masks. An overlap in the applied belt of leaves around the body |
| of the vase may be discerned to proper right of the medallion of | | of the vase may be discerned to proper right of the medallion of |
| otho. The very dark, slightly grey, blue paint is applied to the vase | | otho. The very dark, slightly grey, blue paint is applied to the vase |
| in a dense speckled pattern presumably by some mechanical device. | | in a dense speckled pattern presumably by some mechanical device. |
| The inside of the neck is also coloured. The application is irregular: | | The inside of the neck is also coloured. The application is irregular: |
| the stem and foot appear to be an almost uniform black and the | | the stem and foot appear to be an almost uniform black and the |
| upper part of the neck is also very dark. Much of the gilding has | | upper part of the neck is also very dark. Much of the gilding has |
| worn off. Although now only apparent in the hollows of the leaves | | worn off. Although now only apparent in the hollows of the leaves |
| it seems origivally to have covered them complctcly, as also all the | | it seems origivally to have covered them complctcly, as also all the |
| unpainted omamcnts except perhaps the raised ornament around | | unpainted omamcnts except perhaps the raised ornament around |
| the rim of the foot. The underside of the foot reveals a pink cream | | the rim of the foot. The underside of the foot reveals a pink cream |
| unglazed body. It has not been broken off. The thin bolt passing | | unglazed body. It has not been broken off. The thin bolt passing |
| from inside the vase and fixing it to the plinth appears to be oridnal | | from inside the vase and fixing it to the plinth appears to be oridnal |
| and the ebonized wooden plinth must be a replacement for a | | and the ebonized wooden plinth must be a replacement for a |
| separately fired ceramic one of similar dimensions and colour. | | separately fired ceramic one of similar dimensions and colour. |
| Prove nance unrecordcd. | | Prove nance unrecordcd. |
| Wedgwood made creaniware vases painted in imitation of the | | Wedgwood made creaniware vases painted in imitation of the |
| prestigious stones associated with the Romansngranitcs, | | prestigious stones associated with the Romansngranitcs, |
| porphyry, scrpcntinc, pc7idG ¢»f¢.co, jJo7¢#f¢7¢£# (which he | | porphyry, scrpcntinc, pc7idG ¢»f¢.co, jJo7¢#f¢7¢£# (which he |
| translated as holygate), and agates-from the late 1760s. | | translated as holygate), and agates-from the late 1760s. |
| Those decorated in the fashion of this vase were intended to | | Those decorated in the fashion of this vase were intended to |
| represent, or rather evoke, granite, as is clear from a letter to | | represent, or rather evoke, granite, as is clear from a letter to |
| his partner Thomas Bentley of 13 February 1770 in which | | his partner Thomas Bentley of 13 February 1770 in which |
| Wedgwood proposed that they `call those barely sprinkled | | Wedgwood proposed that they `call those barely sprinkled |
| with blue and ornaments Slt, gr¢#G.fG'. It is clear from the | | with blue and ornaments Slt, gr¢#G.fG'. It is clear from the |
| firm's catalogues that such vases were generally sold `in pairs | | firm's catalogues that such vases were generally sold `in pairs |
| or in sets of three, five or seven' (E. Mcteyard, IZJc Wcof2grood | | or in sets of three, five or seven' (E. Mcteyard, IZJc Wcof2grood |
| H¢„dfoo¢ (I.ondon,1875) ). Wedgwood also experimented | | H¢„dfoo¢ (I.ondon,1875) ). Wedgwood also experimented |
| with making the colour integral to the ceramic body as it was | | with making the colour integral to the ceramic body as it was |
| in the minerals imitated. And of course he was also anxious | | in the minerals imitated. And of course he was also anxious |
| to imitate the hardness and texture as well as the colour of | | to imitate the hardness and texture as well as the colour of |
| stones: hence he called his new vitreous red stoneware `rosso | | stones: hence he called his new vitreous red stoneware `rosso |
| antico', his new fine, hard black stoneware `black basaltcs', | | antico', his new fine, hard black stoneware `black basaltcs', |
| and his new fine, hard, white stainablc stoneware `jasper'. | | and his new fine, hard, white stainablc stoneware `jasper'. |
| Whereas one of the medallions here has the profile portrait | | Whereas one of the medallions here has the profile portrait |
| of a Roman emperor and is stamped as such (M OTHO) the | | of a Roman emperor and is stamped as such (M OTHO) the |
| other has the profile portrait of a woman in cightcenth-century | | other has the profile portrait of a woman in cightcenth-century |
| dress (perhaps Catherine the Great). The somewhat | | dress (perhaps Catherine the Great). The somewhat |
| improvised character of the ornament extends also to the | | improvised character of the ornament extends also to the |
| female masks which are probably from the sane mould: both | | female masks which are probably from the sane mould: both |
| heads are turned slighdy in one direction which suggests that | | heads are turned slighdy in one direction which suggests that |
| the origival model was dcsigncd for a different purpose. | | the origival model was dcsigncd for a different purpose. |
| Wedgwood's vases of this type are gcncrally mounted on | | Wedgwood's vases of this type are gcncrally mounted on |
| Plinths of black basaltes (or occasionally on ones of white | | Plinths of black basaltes (or occasionally on ones of white |
| jasper ware) which are impressed with his mark. It is easy to | | jasper ware) which are impressed with his mark. It is easy to |
| imagive that the wooden plinth in this case replaces a broken | | imagive that the wooden plinth in this case replaces a broken |
| basaltes one. However, it seems more likely that this is one | | basaltes one. However, it seems more likely that this is one |
| of the close imitations of wedgwood's vases made probably | | of the close imitations of wedgwood's vases made probably |
| in about 1780 by Nealc's factory. Thcrc is a vase of the same | | in about 1780 by Nealc's factory. Thcrc is a vase of the same |
| shape decorated with masks and swags and medallions in the | | shape decorated with masks and swags and medallions in the |
| Victoria and Albert Museum (304-1869) which has identical | | Victoria and Albert Museum (304-1869) which has identical |
| colouring, identical Slding, and an identical size of bead | | colouring, identical Slding, and an identical size of bead |
| moulding and band of scrratcd leaves between raised edges. | | moulding and band of scrratcd leaves between raised edges. |
| It is attributed to Nealc's factory on account of its very close | | It is attributed to Nealc's factory on account of its very close |
| similarity to another vase which is marked `J. Neale, Hanley' | | similarity to another vase which is marked `J. Neale, Hanley' |
| on its basaltes plinth in the same collection ( 1614-A-1871 ). | | on its basaltes plinth in the same collection ( 1614-A-1871 ). |
| Ncale was the brother-in-law of Henry Palmer, the previous | | Ncale was the brother-in-law of Henry Palmer, the previous |
| proprietor of the factory at Church Works, Hanley. Nealc's | | proprietor of the factory at Church Works, Hanley. Nealc's |
| partner from 1786, and eventually his successor, was Robert | | partner from 1786, and eventually his successor, was Robert |
| Wilson, and the factory became that of `Neale and Co.' and | | Wilson, and the factory became that of `Neale and Co.' and |
| then that of `Neale and Wflson' (see W. Burton, A HS.Jfory | | then that of `Neale and Wflson' (see W. Burton, A HS.Jfory |
| and Description of English Eawihenware and Stoneware | | and Description of English Eawihenware and Stoneware |
| (Ijondon, 1904), 158-9). | | (Ijondon, 1904), 158-9). |
| n | | n | @@PROCESS |
| 137 | | 137 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Oscar NEMON ( 1906-85) | | Oscar NEMON ( 1906-85) |
| n | | n | @@PROCESS |
| 555. Half-length portrait of Sir | | 555. Half-length portrait of Sir |
| Karl Parker wearing an overcoat | | Karl Parker wearing an overcoat |
| 55.8 cms. (height) | | 55.8 cms. (height) |
| Plaster of Paris, painted black to simulate bronze. A few points of | | Plaster of Paris, painted black to simulate bronze. A few points of |
| plaster remain white. Hollow cast. | | plaster remain white. Hollow cast. |
| There is no record of the circumstances in which this sculpture was | | There is no record of the circumstances in which this sculpture was |
| acquired by the Department, but it is likely to have been soon after | | acquired by the Department, but it is likely to have been soon after |
| the rctircment of parker as Kccper in 1962. It has always been placed | | the rctircment of parker as Kccper in 1962. It has always been placed |
| on a high bracket in the south-west comer of the Print Room. | | on a high bracket in the south-west comer of the Print Room. |
| jin outhne of Nemon's career is given in the introduction | | jin outhne of Nemon's career is given in the introduction |
| written by Sir John Rothenstein for the exhibition at the | | written by Sir John Rothenstein for the exhibition at the |
| As;)nnriohean M:use:`im Oscar Nemon: Scttlptures Of Ottr Time | | As;)nnriohean M:use:`im Oscar Nemon: Scttlptures Of Ottr Time |
| ( 1982), and in the obituary in the T¢.owcj of 16 April 1985. | | ( 1982), and in the obituary in the T¢.owcj of 16 April 1985. |
| Ncmon's origivs wcrc obscure. His parents came from `what | | Ncmon's origivs wcrc obscure. His parents came from `what |
| is now Yugoslavia' but his `background and education were | | is now Yugoslavia' but his `background and education were |
| international'. Having arrived in Oxford as a refugee he | | international'. Having arrived in Oxford as a refugee he |
| married, in 1939, Patricial Villiers-Stuart. `Though the Queen | | married, in 1939, Patricial Villiers-Stuart. `Though the Queen |
| and the Queen Mother were among his sitters, along with | | and the Queen Mother were among his sitters, along with |
| such notables as I.ord Beaverbrook, Sir Max Beerbohm and | | such notables as I.ord Beaverbrook, Sir Max Beerbohm and |
| Ijord Montgomery, he is probably best remembered for his | | Ijord Montgomery, he is probably best remembered for his |
| innumerable images of winston Churchill. ' The Department | | innumerable images of winston Churchill. ' The Department |
| records include many photographs of the plaster before it was | | records include many photographs of the plaster before it was |
| painted. | | painted. |
| Oscar NEMON ( 1906-85) | | Oscar NEMON ( 1906-85) |
| n | | n | @@PROCESS |
| 556. Chow (Topsy) | | 556. Chow (Topsy) |
| 20.4 cms. (height, including plinth); 43.9 cms. (length of plinth); | | 20.4 cms. (height, including plinth); 43.9 cms. (length of plinth); |
| 23.7 cms. (width of plinth) | | 23.7 cms. (width of plinth) |
| Plaster of Paris, painted green to simulate bronze. Hollow cast. | | Plaster of Paris, painted green to simulate bronze. Hollow cast. |
| Inscribed in red paint on white plaster of the interior: `Oscar | | Inscribed in red paint on white plaster of the interior: `Oscar |
| Nemon / Presented by Miss Fielder / 1968'. | | Nemon / Presented by Miss Fielder / 1968'. |
| Given by Miss H. E. Fielder of The I.ane House, Norham Road, | | Given by Miss H. E. Fielder of The I.ane House, Norham Road, |
| Oxford, in 1968. It was offered to Mr I.owe on 20 January 1968 | | Oxford, in 1968. It was offered to Mr I.owe on 20 January 1968 |
| and had arrived by 26 January. It was apparently given by the | | and had arrived by 26 January. It was apparently given by the |
| sculptor to the donor's father, Professor Fielder. | | sculptor to the donor's father, Professor Fielder. |
| A memorandum in the Dcpartment's archives dated 30 April | | A memorandum in the Dcpartment's archives dated 30 April |
| 1969 by Ion I.owe, then an Assistant Keeper in the | | 1969 by Ion I.owe, then an Assistant Keeper in the |
| Department, records a conversation with the artist in his | | Department, records a conversation with the artist in his |
| studio, Friary Court, St James's Palace. | | studio, Friary Court, St James's Palace. |
| Princess Marie Bonapartc had two Chow Chows called Topsy and | | Princess Marie Bonapartc had two Chow Chows called Topsy and |
| Tattoo. O.N. made models of both. She wrote a book on them, | | Tattoo. O.N. made models of both. She wrote a book on them, |
| and analysed the dogs, having been a pupil of Freud. Freud himself | | and analysed the dogs, having been a pupil of Freud. Freud himself |
| had one of their puppies; another puppy belonged to Princess | | had one of their puppies; another puppy belonged to Princess |
| Marina. The models were made about 1936, certainly before the | | Marina. The models were made about 1936, certainly before the |
| War. They were exhibited in Belgium in August 1936 and life-size | | War. They were exhibited in Belgium in August 1936 and life-size |
| models in bronze survive in Brussels. The sculptor brought two | | models in bronze survive in Brussels. The sculptor brought two |
| plaster models to England, this one and another showing the Chows | | plaster models to England, this one and another showing the Chows |
| standing. They arc `my first dogs and my last in this life'. O.N. | | standing. They arc `my first dogs and my last in this life'. O.N. |
| worked at the Princess's residence in Paris, and was there visited by | | worked at the Princess's residence in Paris, and was there visited by |
| the Queen of the Belgians . . . | | the Queen of the Belgians . . . |
| That, however, did not make him a good sculptor. See also | | That, however, did not make him a good sculptor. See also |
| No. 555. | | No. 555. |
| n | | n | @@PROCESS |
| 139 | | 139 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Joseph NOLLEKENS RA ( 1737-1833) | | Joseph NOLLEKENS RA ( 1737-1833) |
| n | | n | @@PROCESS |
| 557. Idealized portrait bust of | | 557. Idealized portrait bust of |
| Maria, Mrs Henry Howard of | | Maria, Mrs Henry Howard of |
| Corby | | Corby |
| 60,5 cms. (height including socle); 11 cms. (height of socle); | | 60,5 cms. (height including socle); 11 cms. (height of socle); |
| 21 cms. (diameter of soclc) | | 21 cms. (diameter of soclc) |
| Carrara marble, somewhat discoloured with dirt. There arc a few | | Carrara marble, somewhat discoloured with dirt. There arc a few |
| minute flaws in the marble, notably to proper left of the chin and | | minute flaws in the marble, notably to proper left of the chin and |
| neck. The uppermost fold of drapery is missing a few chips, as is the | | neck. The uppermost fold of drapery is missing a few chips, as is the |
| most prominent fold between the breasts, and the cnd of the drapery | | most prominent fold between the breasts, and the cnd of the drapery |
| as it hangs down to proper left has been broken off. `Nollekens F!' | | as it hangs down to proper left has been broken off. `Nollekens F!' |
| is chisellcd across the supporting trunk of marble in the hollowed | | is chisellcd across the supporting trunk of marble in the hollowed |
| back of the bust. | | back of the bust. |
| Bought at Christic's, London, 21 January 1965, lot 11, using the | | Bought at Christic's, London, 21 January 1965, lot 11, using the |
| Bouch Bequest Fund. RCSstered on 28 January. The vendor was | | Bouch Bequest Fund. RCSstered on 28 January. The vendor was |
| Major W. W. Dowding of The Manor, Manningford Bruce, Pewsey, | | Major W. W. Dowding of The Manor, Manningford Bruce, Pewsey, |
| Wiltshire, who recalled that he had bought the bust eight years | | Wiltshire, who recalled that he had bought the bust eight years |
| previously from Alfred Spero, the sculpture dealer, at the Ijondon | | previously from Alfred Spero, the sculpture dealer, at the Ijondon |
| Antique Dealers Fair. Mr Spero thought that he had bought it from | | Antique Dealers Fair. Mr Spero thought that he had bought it from |
| another dealer, Marcussen, but had no record of the transaction | | another dealer, Marcussen, but had no record of the transaction |
| (letters of 26 February and 21 April 1965 and notes in the | | (letters of 26 February and 21 April 1965 and notes in the |
| Department's archive). | | Department's archive). |
| The tight and circulating rhythm of the drapery and the | | The tight and circulating rhythm of the drapery and the |
| termination of the bust just below the breasts are entirely | | termination of the bust just below the breasts are entirely |
| characteristic of Nollckcns, but the bust is obviously no | | characteristic of Nollckcns, but the bust is obviously no |
| ordimry portrait but rather an `anima beata' in the tradition | | ordimry portrait but rather an `anima beata' in the tradition |
| of Bernini's famous ideal head, now more classical in | | of Bernini's famous ideal head, now more classical in |
| treatment. The debt to the expressive heads of Niobe and | | treatment. The debt to the expressive heads of Niobe and |
| the niobids reminds us not only that Nollekcns is known to | | the niobids reminds us not only that Nollekcns is known to |
| have studied the antique Niobc group in Florcncc (there are | | have studied the antique Niobc group in Florcncc (there are |
| drawings in a sketchbook in the Ashmolean) but also that hc | | drawings in a sketchbook in the Ashmolean) but also that hc |
| actually owned a notable antique version of the head of Niobe | | actually owned a notable antique version of the head of Niobe |
| which he sold to the earl of Exeter (today at Brocklesby Park, | | which he sold to the earl of Exeter (today at Brocklesby Park, |
| Lincolnshire). The no less obvious inspiration which the | | Lincolnshire). The no less obvious inspiration which the |
| treatment of the hair owes to the bust of `Clytie' of the | | treatment of the hair owes to the bust of `Clytie' of the |
| Townley Collection reminds us that Nollekens was not only | | Townley Collection reminds us that Nollekens was not only |
| an intimate of Townley's but was said to have frequently | | an intimate of Townley's but was said to have frequently |
| copied that bust in marble. | | copied that bust in marble. |
| The Keeper of the Department in 1965, Ian Robertson, | | The Keeper of the Department in 1965, Ian Robertson, |
| was convinced that this bust was a portrait of Emma, Ijady | | was convinced that this bust was a portrait of Emma, Ijady |
| Hamilton. An alleged similarity to a head on the Warwick | | Hamilton. An alleged similarity to a head on the Warwick |
| Vase which Sir William Haniilton was supposed to have had | | Vase which Sir William Haniilton was supposed to have had |
| modeued on Emma prior to selling the vase to his nephew | | modeued on Emma prior to selling the vase to his nephew |
| `confims the identification', he wrote over-optimistically in | | `confims the identification', he wrote over-optimistically in |
| the A""„¢/ Rcporf (1965: 56-7). He proposed 1791 as the | | the A""„¢/ Rcporf (1965: 56-7). He proposed 1791 as the |
| year in which the work was exccutcd because that was the | | year in which the work was exccutcd because that was the |
| year of Emma's return to London from Naples when she did | | year of Emma's return to London from Naples when she did |
| indeed sit to numerous artists. However, there is no | | indeed sit to numerous artists. However, there is no |
| contemporary record of her sitting to Nollekens and it is odd | | contemporary record of her sitting to Nollekens and it is odd |
| that thcrc is no recouection of such an important portrait in | | that thcrc is no recouection of such an important portrait in |
| J. T. Smith's biography. The bust was included in the | | J. T. Smith's biography. The bust was included in the |
| c;xINkjriron Lady Hamilton in Relation to the Art Of her Time | | c;xINkjriron Lady Hamilton in Relation to the Art Of her Time |
| held at Kenwood House, London, 1972 (p. 47 in the | | held at Kenwood House, London, 1972 (p. 47 in the |
| catalogue by Patricia Jaife ), and in 777c A77iogr¢7¢f Co""o¢.ftG"r.. | | catalogue by Patricia Jaife ), and in 777c A77iogr¢7¢f Co""o¢.ftG"r.. |
| n | | n | @@PROCESS |
| 140 | | 140 |
| R¢.c47¢7id P¢y7¢c Kce¢j¢f, held at the Whitworth Art Gallery, | | R¢.c47¢7id P¢y7¢c Kce¢j¢f, held at the Whitworth Art Gallery, |
| Manchester,1982, where, however, I catalogued it (no. 61, | | Manchester,1982, where, however, I catalogued it (no. 61, |
| p.143) as `perhaps of Emma Hamilton' with the observation | | p.143) as `perhaps of Emma Hamilton' with the observation |
| that `The theatrical character suggests Lady Hamilton's | | that `The theatrical character suggests Lady Hamilton's |
| accomplishments but for this reason also it can only be an | | accomplishments but for this reason also it can only be an |
| approximate likeness, and it is not entirely certain that this | | approximate likeness, and it is not entirely certain that this |
| bust represents her'. There is really no good reason to suggest | | bust represents her'. There is really no good reason to suggest |
| that it docs represent her. | | that it docs represent her. |
| The bust rescmblcs very closely indeed Maria the wife of | | The bust rescmblcs very closely indeed Maria the wife of |
| Henry Howard of Corby in Nollckcns's reclining statue of | | Henry Howard of Corby in Nollckcns's reclining statue of |
| her comforted by a personification of ReliSon-nc of his | | her comforted by a personification of ReliSon-nc of his |
| most beautiful and famous works-in Wethcrall Church, | | most beautiful and famous works-in Wethcrall Church, |
| Cumberland. Mrs Howard died in childbed in 1788 and the | | Cumberland. Mrs Howard died in childbed in 1788 and the |
| monument was presumably commissioned soon afterwards, | | monument was presumably commissioned soon afterwards, |
| but the model was not exhibited at the Royal Academy until | | but the model was not exhibited at the Royal Academy until |
| 1800 (no.1082, `A monumental group to the memory of a | | 1800 (no.1082, `A monumental group to the memory of a |
| lady who died in child-bed, supported by Religion, ctc.') and | | lady who died in child-bed, supported by Religion, ctc.') and |
| the marble was only erected in 1803. The similarity has | | the marble was only erected in 1803. The similarity has |
| cscapcd notice perhaps because of the angle of most of the | | cscapcd notice perhaps because of the angle of most of the |
| photographs taken of the sculpture in Wetherall (but see N. | | photographs taken of the sculpture in Wetherall (but see N. |
| Penny, `English Church Monuments to Women who died in | | Penny, `English Church Monuments to Women who died in |
| chi."dleed: , ]ottrmal of the Warbttrg and Cottrtauld Institutes, | | chi."dleed: , ]ottrmal of the Warbttrg and Cottrtauld Institutes, |
| 38 (1975), pl. a, opposite p. 320). It was whouy characteristic | | 38 (1975), pl. a, opposite p. 320). It was whouy characteristic |
| of Nollekens to make a bust version as well as a full-length | | of Nollekens to make a bust version as well as a full-length |
| effigy (he did the same for Mrs Pclham, whose statue in the | | effigy (he did the same for Mrs Pclham, whose statue in the |
| Brocklcsby Mausoleum, however, needed less adaptation | | Brocklcsby Mausoleum, however, needed less adaptation |
| since it was not reclining). The drapery and the turn of the | | since it was not reclining). The drapery and the turn of the |
| head have been changed somewhat for the bust, but the face | | head have been changed somewhat for the bust, but the face |
| is the same and so is the hair in every single lock. The portrait | | is the same and so is the hair in every single lock. The portrait |
| must have been posthumous and the sculptor may not even | | must have been posthumous and the sculptor may not even |
| have been given other portraits to refer to. In any case young | | have been given other portraits to refer to. In any case young |
| wives in commemorative sculpture in this period were as | | wives in commemorative sculpture in this period were as |
| idcalized in treatment as personifications of ReliSon. | | idcalized in treatment as personifications of ReliSon. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Perhaps by Joseph NOLLEKENS ( 1737-1823) | | Perhaps by Joseph NOLLEKENS ( 1737-1823) |
| n | | n | @@PROCESS |
| 558. Oliver Cromwell | | 558. Oliver Cromwell |
| 60.5 cms. (height excluding socle); 13.2 cms. (height of soclc); | | 60.5 cms. (height excluding socle); 13.2 cms. (height of soclc); |
| 22.7 cms. (diameter of soclc) | | 22.7 cms. (diameter of soclc) |
| Carrara marble. There are small chips on the edge of the armour at | | Carrara marble. There are small chips on the edge of the armour at |
| the proper left shoulder and a larger loss to the collar to proper left. | | the proper left shoulder and a larger loss to the collar to proper left. |
| There is a slight crack across the proper left shoulder. The bust is | | There is a slight crack across the proper left shoulder. The bust is |
| mounted on a tuned socle of Siena marble (dark mustard yellow | | mounted on a tuned socle of Siena marble (dark mustard yellow |
| flecked with grey). This does not fit the shape of the lowest portions | | flecked with grey). This does not fit the shape of the lowest portions |
| of the marble bust which rest upon it and cannot be original. `o? | | of the marble bust which rest upon it and cannot be original. `o? |
| CROMWELL' is chiselled on the tablet below the cutting of the chest | | CROMWELL' is chiselled on the tablet below the cutting of the chest |
| above the turned socle. `E. Pierce Fecit' is chisclled on the face of | | above the turned socle. `E. Pierce Fecit' is chisclled on the face of |
| this tablet to proper left with the last two letters `. . .it') continued | | this tablet to proper left with the last two letters `. . .it') continued |
| on the reverse face. | | on the reverse face. |
| Bought with a fund presented by Magdalen College in 1920 from | | Bought with a fund presented by Magdalen College in 1920 from |
| E. A. V. Stanley previous to the sale on 6-17 September by Morris, | | E. A. V. Stanley previous to the sale on 6-17 September by Morris, |
| Son and Pcard of the contents of Quantock IJ)dge near Bridgwater, | | Son and Pcard of the contents of Quantock IJ)dge near Bridgwater, |
| Somerset-Mr Stanley `liberally consented to reserve it from the | | Somerset-Mr Stanley `liberally consented to reserve it from the |
| auction and cede it to the museum at an agreed valuation' (A""#¢/ | | auction and cede it to the museum at an agreed valuation' (A""#¢/ |
| RcPo77 ( 1920) 16-17). It was purchased `towards the close of the | | RcPo77 ( 1920) 16-17). It was purchased `towards the close of the |
| first half of the last century from Harman the I.ondon dealer, by | | first half of the last century from Harman the I.ondon dealer, by |
| Henry I.abouchere, I.ord Taunton' (ibid. ). I.ord Taunton's | | Henry I.abouchere, I.ord Taunton' (ibid. ). I.ord Taunton's |
| collection was kept at Stoke Park, but removed to Quantock I-odgc | | collection was kept at Stoke Park, but removed to Quantock I-odgc |
| after his death in 1869. In the Museum the bust was displayed as | | after his death in 1869. In the Museum the bust was displayed as |
| a companion with Picrce's bust of wren, first in the Eldon Room | | a companion with Picrce's bust of wren, first in the Eldon Room |
| (now the Founder's Room) and subsequently in the Tapestry Gallery. | | (now the Founder's Room) and subsequently in the Tapestry Gallery. |
| It was removed in 1989 to the Weldon Gallery. The soclc rested | | It was removed in 1989 to the Weldon Gallery. The soclc rested |
| upon a massive baluster-shaped pedestal which was transferred in | | upon a massive baluster-shaped pedestal which was transferred in |
| 1987 to the bust of the carl of Arundel (No. 472). This pedestal | | 1987 to the bust of the carl of Arundel (No. 472). This pedestal |
| was described in the A7G„"¢/ RGPo7? for 1924. It was made of | | was described in the A7G„"¢/ RGPo7? for 1924. It was made of |
| `Sicilian marble' (a slightly grey, very durable Carrara marble, known | | `Sicilian marble' (a slightly grey, very durable Carrara marble, known |
| as Ravaccionc in Italy) `to harmonise with the old baluster base of | | as Ravaccionc in Italy) `to harmonise with the old baluster base of |
| the bust of wren, but . . . simpler and less sculpturcsque in character'. | | the bust of wren, but . . . simpler and less sculpturcsque in character'. |
| C. F. Bell had it `copied from the pillar supporting the font in St. | | C. F. Bell had it `copied from the pillar supporting the font in St. |
| Margaret's, Westminster, designed by Nicholas Stone. The front is | | Margaret's, Westminster, designed by Nicholas Stone. The front is |
| ornamented with a shield of arms of the Commonwealth and | | ornamented with a shield of arms of the Commonwealth and |
| Cromwell copied from a medal by Thomas Simon.' | | Cromwell copied from a medal by Thomas Simon.' |
| A bust of Cromwen in bronze in the Museum of London is | | A bust of Cromwen in bronze in the Museum of London is |
| signed by Pierce and dated 1672. In this portrait, the head, | | signed by Pierce and dated 1672. In this portrait, the head, |
| which has bccn cast separately, seems to be related to the | | which has bccn cast separately, seems to be related to the |
| mask now at Chcqucrs which has sometimes been thought | | mask now at Chcqucrs which has sometimes been thought |
| to have been made for Cromwcll's finily in 1655 (but on | | to have been made for Cromwcll's finily in 1655 (but on |
| this point see D. Piper, `The Contemporary Portraits of | | this point see D. Piper, `The Contemporary Portraits of |
| Oliver Cromwell', W¢/Po/G Soc¢.ety, 34 ( 19524), 41 ). Marble | | Oliver Cromwell', W¢/Po/G Soc¢.ety, 34 ( 19524), 41 ). Marble |
| copies exist of which a notable one is in the Wemyss | | copies exist of which a notable one is in the Wemyss |
| Collection at Gosford House. This type is much less vivid as | | Collection at Gosford House. This type is much less vivid as |
| a portrait than the Ashmolean's marble bust which, as Mrs | | a portrait than the Ashmolean's marble bust which, as Mrs |
| Poole remarks, `impresses the spectator with great force as a | | Poole remarks, `impresses the spectator with great force as a |
| portrait from lifc'. But it would be rash to conclude, with | | portrait from lifc'. But it would be rash to conclude, with |
| her, that `it belongs in all probability to the last years of health | | her, that `it belongs in all probability to the last years of health |
| of the protector's life' (`Edward Picrcc the Sculptor', W¢/po/c | | of the protector's life' (`Edward Picrcc the Sculptor', W¢/po/c |
| SocG.rty, 11 ( 1923), 38) for vivid portraits are often made long | | SocG.rty, 11 ( 1923), 38) for vivid portraits are often made long |
| after a sittcr's death. Mrs Poole also notes that this is `in all | | after a sittcr's death. Mrs Poole also notes that this is `in all |
| probability' the marble bust which Walpolc records as sold at | | probability' the marble bust which Walpolc records as sold at |
| auction in 1714, but there is no way of telling that it was not | | auction in 1714, but there is no way of telling that it was not |
| a marble copy of the 1672 bronze to which Walpole referred. | | a marble copy of the 1672 bronze to which Walpole referred. |
| No one sccms to have questioned the attribution of the | | No one sccms to have questioned the attribution of the |
| n | | n | @@PROCESS |
| 142 | | 142 |
| Ashmolean bust, and yet the chiselled lettering of Picrce's | | Ashmolean bust, and yet the chiselled lettering of Picrce's |
| name is not close to that found on the London Museum | | name is not close to that found on the London Museum |
| bronze, does not fit into the side of the tablet, and is not | | bronze, does not fit into the side of the tablet, and is not |
| seventeenth century in style. Moreover, the bust bears no | | seventeenth century in style. Moreover, the bust bears no |
| resemblance to any other sculpture by Pierce. Busts of | | resemblance to any other sculpture by Pierce. Busts of |
| Cromwell were exceedingly popular in the eighteenth century | | Cromwell were exceedingly popular in the eighteenth century |
| and were made by all the leading sculptors: Rysbrack, | | and were made by all the leading sculptors: Rysbrack, |
| Roubiliac, Wilton, and Nollekens. The treatment of the curls | | Roubiliac, Wilton, and Nollekens. The treatment of the curls |
| around the ears in this case is particularly close to those in | | around the ears in this case is particularly close to those in |
| Nollekcns's work-see, for instance, the bust of sir George | | Nollekcns's work-see, for instance, the bust of sir George |
| Savilc of 1784 in the Victoria and Albcrt Museum or the | | Savilc of 1784 in the Victoria and Albcrt Museum or the |
| celcbratcd first bust of Charles James Fox at Holkham Hall, | | celcbratcd first bust of Charles James Fox at Holkham Hall, |
| Norfolk; the cutting of iris and pupil is exactly in his manner; | | Norfolk; the cutting of iris and pupil is exactly in his manner; |
| the detail of the lion badge on the chest is suggestive of his | | the detail of the lion badge on the chest is suggestive of his |
| taste in ornaments; and the compact and rounded outline of | | taste in ornaments; and the compact and rounded outline of |
| the bust is typical of him. The bust of Cromwell which is | | the bust is typical of him. The bust of Cromwell which is |
| listed by J. T. Smith in No//cfec„f ¢»¢ H¢.f T¢.7„cf (I.ondon, | | listed by J. T. Smith in No//cfec„f ¢»¢ H¢.f T¢.7„cf (I.ondon, |
| 1828) has not, it seems, been traced. I believe that it is this | | 1828) has not, it seems, been traced. I believe that it is this |
| bust to which the name of Picrcc was added in the mid-ninetccnth | | bust to which the name of Picrcc was added in the mid-ninetccnth |
| century to increase its value as an authentic likeness. | | century to increase its value as an authentic likeness. |
| An unsigned terracotta version of this bust was acquired in | | An unsigned terracotta version of this bust was acquired in |
| 1861 for the National Portrait Gallery (no. 438, kept in storc- | | 1861 for the National Portrait Gallery (no. 438, kept in storc- |
| D. P.rper. Catalogt4e Of Seventeenth-Centttry Portraits in the | | D. P.rper. Catalogt4e Of Seventeenth-Centttry Portraits in the |
| National Portrait Gallery 1625-1714 (Carrtondge. \963), | | National Portrait Gallery 1625-1714 (Carrtondge. \963), |
| 96). The chest is squared off to form a herm and considerably | | 96). The chest is squared off to form a herm and considerably |
| reduced in size (the height is 41.9 cms.). The head looks too | | reduced in size (the height is 41.9 cms.). The head looks too |
| large and this treatment does not suit the armour. It is clearly | | large and this treatment does not suit the armour. It is clearly |
| not the origival design. The detail is not crisp and inspection | | not the origival design. The detail is not crisp and inspection |
| of the rear of the bust reveals that it is cast, presumably from | | of the rear of the bust reveals that it is cast, presumably from |
| moulds taken from Nollekens's original model which had | | moulds taken from Nollekens's original model which had |
| perhaps been modified (because of damage?) to this shape. | | perhaps been modified (because of damage?) to this shape. |
| In any case this is not a seventeenth-century work, since the | | In any case this is not a seventeenth-century work, since the |
| Greek termination for a portrait bust was then unknown and, | | Greek termination for a portrait bust was then unknown and, |
| since it is cast, it is not the model for the marble bust as has | | since it is cast, it is not the model for the marble bust as has |
| been claimed. Mrs Poolc was right to observe the significance | | been claimed. Mrs Poolc was right to observe the significance |
| of the terracotta having belonged to the sculptor J. I.oft who | | of the terracotta having belonged to the sculptor J. I.oft who |
| was intercstcd in imaginary historical portraiture (ibid. 39 n.) | | was intercstcd in imaginary historical portraiture (ibid. 39 n.) |
| and Piper was right to suspect that it was `ninetcenth-century | | and Piper was right to suspect that it was `ninetcenth-century |
| work,. | | work,. |
| A bust of Cromwell simhar to that in the Ashmolcan was | | A bust of Cromwell simhar to that in the Ashmolcan was |
| sold at Phillip's, I.ondon (3 July 1990, lot 229). The only | | sold at Phillip's, I.ondon (3 July 1990, lot 229). The only |
| major differcncc is that this version has a cloak covering much | | major differcncc is that this version has a cloak covering much |
| of the armour and fastened at the proper left shoulder, making | | of the armour and fastened at the proper left shoulder, making |
| a happier composition. `ULIVIERO CROMWEL[.' is chisclled on | | a happier composition. `ULIVIERO CROMWEL[.' is chisclled on |
| the tablet, which suggests an Italian origin. Another version | | the tablet, which suggests an Italian origin. Another version |
| of this type, with minor differences in the drapery, was sold | | of this type, with minor differences in the drapery, was sold |
| on 6 July 1986 at Christie's, I.ondon, as lot 73-`F. Harwood | | on 6 July 1986 at Christie's, I.ondon, as lot 73-`F. Harwood |
| Fecit 1759' was chisellcd on the socle. Patricia Wengraf, who | | Fecit 1759' was chisellcd on the socle. Patricia Wengraf, who |
| bought the version sold at Phillip's, accepts Harwood as the | | bought the version sold at Phillip's, accepts Harwood as the |
| inventor of this bust. Harwood had a flourishing practice in | | inventor of this bust. Harwood had a flourishing practice in |
| Florence during the 1750s and 1760s and, Mrs Wcngraf | | Florence during the 1750s and 1760s and, Mrs Wcngraf |
| points out, he could have studied the plaster death mask of | | points out, he could have studied the plaster death mask of |
| Cromwell now in the Bargcllo in Florence as well as Thomas | | Cromwell now in the Bargcllo in Florence as well as Thomas |
| Simon's Dunbar Medal of 1651 and, of course, prints. I have, | | Simon's Dunbar Medal of 1651 and, of course, prints. I have, |
| however, seen no evidence that Harwood had the talent to | | however, seen no evidence that Harwood had the talent to |
| invent a bust of this character and none of his oriSnal work- | | invent a bust of this character and none of his oriSnal work- |
| BRITISH SCULI'TURES, BY ARTIST'S NAME | | BRITISH SCULI'TURES, BY ARTIST'S NAME |
| the tomb of william, 2nd Earl Cowpcr, at Hertingfordbury | | the tomb of william, 2nd Earl Cowpcr, at Hertingfordbury |
| completed in 1770, for example-is close in style. Most of | | completed in 1770, for example-is close in style. Most of |
| his work as a sculptor seems to have been copying the work | | his work as a sculptor seems to have been copying the work |
| of others. That he was able to copy an invention by Nollekens | | of others. That he was able to copy an invention by Nollekens |
| is easy to believe especially if the orialnal model was made by | | is easy to believe especially if the orialnal model was made by |
| Nollckens when he was in Rome between 1762 and 1770. | | Nollckens when he was in Rome between 1762 and 1770. |
| That this was indeed the case is suggested by the very similar | | That this was indeed the case is suggested by the very similar |
| treatment of Cromwell's armour to that worn by the duke of | | treatment of Cromwell's armour to that worn by the duke of |
| York in the bust modeucd by Nollekens in Rome in 1764. It | | York in the bust modeucd by Nollekens in Rome in 1764. It |
| is also suggested by the treatment of the features, especially | | is also suggested by the treatment of the features, especially |
| the frown, which recalls the bust of Piranesi in the Accadcmia | | the frown, which recalls the bust of Piranesi in the Accadcmia |
| di San Luca in Rome, which is the finest of all early portraits | | di San Luca in Rome, which is the finest of all early portraits |
| by Nollekcns (both rcproduccd in J. Kenworthy-Browne, | | by Nollekcns (both rcproduccd in J. Kenworthy-Browne, |
| `Establishing a Reputation: Joseph Nollekens: The Years in | | `Establishing a Reputation: Joseph Nollekens: The Years in |
| Rome-I', Co%#try L¢rc (7 )une 1979),1844-8). It would | | Rome-I', Co%#try L¢rc (7 )une 1979),1844-8). It would |
| not have been extraordinary for Harwood to place his own | | not have been extraordinary for Harwood to place his own |
| name on Noll€kens's invention-nor to add a date which | | name on Noll€kens's invention-nor to add a date which |
| seemed to make Nollekens's invention impossible. The stylistic | | seemed to make Nollekens's invention impossible. The stylistic |
| evidence in favour of Nollckens's authorship seems to me to | | evidence in favour of Nollckens's authorship seems to me to |
| be too strong to bc shaken by the undoubted connection | | be too strong to bc shaken by the undoubted connection |
| with Harwood. | | with Harwood. |
| n | | n | @@PROCESS |
| 143 | | 143 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Edward PIERCE ( c.1630-95 ) | | Edward PIERCE ( c.1630-95 ) |
| n | | n | @@PROCESS |
| 559. Sir Christopher Wren | | 559. Sir Christopher Wren |
| 66. I cms. (height, including socle); 9 cms. (height of soc[e); | | 66. I cms. (height, including socle); 9 cms. (height of soc[e); |
| 17 cms. (diameter of socle); 126.8 cms. (total height of pedestal | | 17 cms. (diameter of socle); 126.8 cms. (total height of pedestal |
| as constituted at present); 83 cms. (height of principal baluster | | as constituted at present); 83 cms. (height of principal baluster |
| component of the pedestal) | | component of the pedestal) |
| Carrara marble. There is a small chip missing from the shirt front to | | Carrara marble. There is a small chip missing from the shirt front to |
| proper right and one curl on the same side has been broken off. | | proper right and one curl on the same side has been broken off. |
| The marble is streaked with grey which is particularly evident on the | | The marble is streaked with grey which is particularly evident on the |
| bare chest. The turned socle is made from a separate piece of marble. | | bare chest. The turned socle is made from a separate piece of marble. |
| This socle had been cracked and a small portion detached and | | This socle had been cracked and a small portion detached and |
| inadequately glued-this was replaced with polyester stone cement | | inadequately glued-this was replaced with polyester stone cement |
| in June 1969 by Kathleen Kimber and C. P. Bartram of the | | in June 1969 by Kathleen Kimber and C. P. Bartram of the |
| Department of Antiquities. They removed the dirty and waxy surface | | Department of Antiquities. They removed the dirty and waxy surface |
| of the marble with methane chloride, an acetone swab, and a `pack' | | of the marble with methane chloride, an acetone swab, and a `pack' |
| of scpolite (magnesium silicate) and washed it with dcionized water. | | of scpolite (magnesium silicate) and washed it with dcionized water. |
| Given to the University by the son of the sitter, Mr. Christopher | | Given to the University by the son of the sitter, Mr. Christopher |
| Wren, in 1737. Displayed during the eighteenth century in the | | Wren, in 1737. Displayed during the eighteenth century in the |
| Picture Gallery, and, by the end of the nineteenth century, in the | | Picture Gallery, and, by the end of the nineteenth century, in the |
| Tower Room, of the Bodleian Library. Transferred, by Decree of | | Tower Room, of the Bodleian Library. Transferred, by Decree of |
| Convocation in 1916, to the Ashmolean Museum, at the instigation | | Convocation in 1916, to the Ashmolean Museum, at the instigation |
| of C. F. Bell-gainst `considerable opposition'-nd displayed in | | of C. F. Bell-gainst `considerable opposition'-nd displayed in |
| the Founder's Room, then known as the Eldon Room, against the | | the Founder's Room, then known as the Eldon Room, against the |
| Gobclins tapestry of the combat of animals and in the company of | | Gobclins tapestry of the combat of animals and in the company of |
| French and Italian seventeenth- and eighteenth-century paintings. | | French and Italian seventeenth- and eighteenth-century paintings. |
| It was still placed there in 1931. For many years it was displayed in | | It was still placed there in 1931. For many years it was displayed in |
| the Tapestry Gallery. It was removed in 1987 to the Weldon Gallery. | | the Tapestry Gallery. It was removed in 1987 to the Weldon Gallery. |
| The pedestal, apparently given it by Bell, consisted of a bulbous | | The pedestal, apparently given it by Bell, consisted of a bulbous |
| baluster support ( boldly gadrooned in its lower part and carved with | | baluster support ( boldly gadrooned in its lower part and carved with |
| acanthus in its stem such as one might expect for a sundial of the | | acanthus in its stem such as one might expect for a sundial of the |
| late seventeenth century), raised on a block of marble and with two | | late seventeenth century), raised on a block of marble and with two |
| additional blocks on top the uppermost of which, a cube of po#o | | additional blocks on top the uppermost of which, a cube of po#o |
| pccecrc (black marble with liquid yellow veins), was removed when | | pccecrc (black marble with liquid yellow veins), was removed when |
| the bust was placed in the Weldon Gallery. | | the bust was placed in the Weldon Gallery. |
| The bust of the most popular of British architects is the most | | The bust of the most popular of British architects is the most |
| celebrated achievement of Pierce and one of the most loved | | celebrated achievement of Pierce and one of the most loved |
| of all British sculptures-`onc of those rare treasures, a great | | of all British sculptures-`onc of those rare treasures, a great |
| work of art which is also the portrait of a very great man' | | work of art which is also the portrait of a very great man' |
| (R L. Poolc, `Edward Pierce the Sculptor', W¢/Po/G Soc¢.Gay, | | (R L. Poolc, `Edward Pierce the Sculptor', W¢/Po/G Soc¢.Gay, |
| 11 ( 1923), 40); `probably the best piece of sculpture made | | 11 ( 1923), 40); `probably the best piece of sculpture made |
| by an Englishman in the Century' (M. Whinney and 0. Millar, | | by an Englishman in the Century' (M. Whinney and 0. Millar, |
| E„g/¢.£4 A7? 1625-1714 (Oxford, 1957), 255). | | E„g/¢.£4 A7? 1625-1714 (Oxford, 1957), 255). |
| The attribution to Pierce is made in a letter by the donor | | The attribution to Pierce is made in a letter by the donor |
| written in 1742 which was quoted by Vcrtue in his notebooks: | | written in 1742 which was quoted by Vcrtue in his notebooks: |
| `thc bust was the performance of Edward Pierce about the | | `thc bust was the performance of Edward Pierce about the |
| year 1673' (`Notebooks', v, W¢/Po/c Soc¢.cty, 26 ( 1938), 9). | | year 1673' (`Notebooks', v, W¢/Po/c Soc¢.cty, 26 ( 1938), 9). |
| The drama of such a broad triangular composition upon a | | The drama of such a broad triangular composition upon a |
| small turned socle and of voluminous drapery, hastily pulled | | small turned socle and of voluminous drapery, hastily pulled |
| across the chest, with loose shirt, and disordered locks each | | across the chest, with loose shirt, and disordered locks each |
| played off against the other, represent responses to Bernini's | | played off against the other, represent responses to Bernini's |
| portrait bust of Franccsco I d'Este (completed in 1651) and | | portrait bust of Franccsco I d'Este (completed in 1651) and |
| its numerous imitators, responses sinilar to those of the | | its numerous imitators, responses sinilar to those of the |
| French sculptor Antoine Coysevox. | | French sculptor Antoine Coysevox. |
| Coysevox's faces are frequently given the alert conviviality | | Coysevox's faces are frequently given the alert conviviality |
| we see here and a comparison with his work is made by | | we see here and a comparison with his work is made by |
| Whinney in her discussion of this portrait (op. cit.) but taken | | Whinney in her discussion of this portrait (op. cit.) but taken |
| no further. And yet when the bust is examined in relation to | | no further. And yet when the bust is examined in relation to |
| n | | n | @@PROCESS |
| 144 | | 144 |
| Coysevox's bust of Charles Lebrun (the marble in the I.ouvre | | Coysevox's bust of Charles Lebrun (the marble in the I.ouvre |
| is dated 1679 but the terracotta in the Wallace Collection | | is dated 1679 but the terracotta in the Wallace Collection |
| may be the model submitted to the Academy in 1676) it is | | may be the model submitted to the Academy in 1676) it is |
| surely only habit, supported by patriotism, that restrains | | surely only habit, supported by patriotism, that restrains |
| scholars from wondering whether the Ashmolean's marble is | | scholars from wondering whether the Ashmolean's marble is |
| not in fact a copy by Pierce of a lost bust, perhaps in fraSle | | not in fact a copy by Pierce of a lost bust, perhaps in fraSle |
| terracotta, by Coysevox. The marble certainly looks like a | | terracotta, by Coysevox. The marble certainly looks like a |
| copy: the boldness of the conception is simply not matched | | copy: the boldness of the conception is simply not matched |
| by an equivalent verve in the execution. And it is surely | | by an equivalent verve in the execution. And it is surely |
| extraordinary that Pierce, had he invented a bust of this | | extraordinary that Pierce, had he invented a bust of this |
| sophistication and vitality, should never have achieved | | sophistication and vitality, should never have achieved |
| anything comparable in his other bust portraits. His bust of | | anything comparable in his other bust portraits. His bust of |
| Thomas Evans which he made in 1688 for the Painter-Stainers | | Thomas Evans which he made in 1688 for the Painter-Stainers |
| Company (Poole, op. cit., pl. XXIIIa) has similar ambitions, | | Company (Poole, op. cit., pl. XXIIIa) has similar ambitions, |
| but it has nothing of this sweep in its drapery, whilst the | | but it has nothing of this sweep in its drapery, whilst the |
| empty arms give a feebleness to the whole treatment of the | | empty arms give a feebleness to the whole treatment of the |
| chest, and the curls of the wig are fat and coarse. If there was | | chest, and the curls of the wig are fat and coarse. If there was |
| a model by Coysevox (or another French sculptor) which | | a model by Coysevox (or another French sculptor) which |
| Pierce was copying, then there remains a problem of when | | Pierce was copying, then there remains a problem of when |
| and where it was made, for 1665, when we know Wren to | | and where it was made, for 1665, when we know Wren to |
| have been in Paris, is too early a date, and although it is | | have been in Paris, is too early a date, and although it is |
| perfectly possible that Wren travelled to Paris again in the | | perfectly possible that Wren travelled to Paris again in the |
| early 1670s, no such visit is recorded. An interesting later | | early 1670s, no such visit is recorded. An interesting later |
| example of a distinguished Englishman obtaining a terracotta | | example of a distinguished Englishman obtaining a terracotta |
| portrait by Coysevox in Paris is that of the diplomat and poet | | portrait by Coysevox in Paris is that of the diplomat and poet |
| Matthew Prior (it was subsequently incorporated into his | | Matthew Prior (it was subsequently incorporated into his |
| monument in Westminster Abbey). | | monument in Westminster Abbey). |
| Tr- | | Tr- |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| I:,,,,,,`::;:::..,.:`.:-::,-,;:-::::;;i:: | | I:,,,,,,`::;:::..,.:`.:-::,-,;:-::::;;i:: |
| n | | n | @@PROCESS |
| 145 | | 145 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| After a work attributed to Edward PIERCE ( c.1630-95) | | After a work attributed to Edward PIERCE ( c.1630-95) |
| n | | n | @@PROCESS |
| 560. Portrait head probably of John | | 560. Portrait head probably of John |
| rmton | | rmton |
| 29.3 cms. (height) | | 29.3 cms. (height) |
| Plaster of I'aris coloured to resemble greyish yellow clay. Solid cast. | | Plaster of I'aris coloured to resemble greyish yellow clay. Solid cast. |
| Subscribed for by C. F. Bell in 1925 in his official capacity as Keeper | | Subscribed for by C. F. Bell in 1925 in his official capacity as Keeper |
| of the Department of Fine Art and acquired in 1926 (A»7?#¢/ | | of the Department of Fine Art and acquired in 1926 (A»7?#¢/ |
| Report`24). | | Report`24). |
| The cast is an accurate reproduction, including cracks and | | The cast is an accurate reproduction, including cracks and |
| loose fillings, of the portrait, generally accepted as of Milton, | | loose fillings, of the portrait, generally accepted as of Milton, |
| in unbaked clay which was bequeathed to Christ's Couege, | | in unbaked clay which was bequeathed to Christ's Couege, |
| Cambridge, by the Revd John Disney in 1816, having passed | | Cambridge, by the Revd John Disney in 1816, having passed |
| through the collections of Thomas Brand Hohis, Sir Joshua | | through the collections of Thomas Brand Hohis, Sir Joshua |
| Reynolds, and George Vcrtue. (For a full account of this see | | Reynolds, and George Vcrtue. (For a full account of this see |
| I .W . Goodison. Catalogtte Of the Portraits in Christ's, Clare | | I .W . Goodison. Catalogtte Of the Portraits in Christ's, Clare |
| ¢"d Sz.¢„ey S#jrex Co//egcf ( Cambridge, 1985), 26-7, no. 54. ) | | ¢"d Sz.¢„ey S#jrex Co//egcf ( Cambridge, 1985), 26-7, no. 54. ) |
| Vertue believed the clay head to be by Pierce, but Hollis | | Vertue believed the clay head to be by Pierce, but Hollis |
| recorded his `imprcssion' that it was `modelled by Abraham | | recorded his `imprcssion' that it was `modelled by Abraham |
| Simon' (jn4lc7„o¢.7tf (I.ondon,1780), ii. 513)-Simon was a | | Simon' (jn4lc7„o¢.7tf (I.ondon,1780), ii. 513)-Simon was a |
| noted medallist and wax modeller but no comparable-sized | | noted medallist and wax modeller but no comparable-sized |
| portrait by him seems to have survived. A marble copy of the | | portrait by him seems to have survived. A marble copy of the |
| clay head was made by Horace Montford in 1903 (Goodison, | | clay head was made by Horace Montford in 1903 (Goodison, |
| op. cit. 27, no. 56). In 1925 a cast of the clay head was made | | op. cit. 27, no. 56). In 1925 a cast of the clay head was made |
| for the National Portrait Gallery (no. 2102), and six additional | | for the National Portrait Gallery (no. 2102), and six additional |
| casts were subscribed for by the Master of Christ's College | | casts were subscribed for by the Master of Christ's College |
| (Sir Arthur Shipley who bequcathcd it to his college in 1927), | | (Sir Arthur Shipley who bequcathcd it to his college in 1927), |
| C. F. Bell, Sir Edmund Gosse, the Victoria and Albert | | C. F. Bell, Sir Edmund Gosse, the Victoria and Albert |
| Museum, the Scottish National Portrait Gallery (2102), and | | Museum, the Scottish National Portrait Gallery (2102), and |
| the National Gallery of victoria, Melbourne, Australia (ibid. | | the National Gallery of victoria, Melbourne, Australia (ibid. |
| 27, no. 55. n. f). Bell had purchased what he believed to be | | 27, no. 55. n. f). Bell had purchased what he believed to be |
| Pierce's bust portrait of Cromwell in 1920 (No. 558) and | | Pierce's bust portrait of Cromwell in 1920 (No. 558) and |
| had organized the transfer of the portrait of wren from the | | had organized the transfer of the portrait of wren from the |
| Bodleian in 1916 (No. 559). | | Bodleian in 1916 (No. 559). |
| -th_ | | -th_ |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Frederick Wman POMEROY ( 1856-1924) | | Frederick Wman POMEROY ( 1856-1924) |
| After Niccol6 Tribolo ( 1500-50) | | After Niccol6 Tribolo ( 1500-50) |
| n | | n | @@PROCESS |
| 561. Piping satyr astride a vase | | 561. Piping satyr astride a vase |
| 28.1 cms. (height, including integral base); 1.15 cms. (height of | | 28.1 cms. (height, including integral base); 1.15 cms. (height of |
| integral base) | | integral base) |
| Bronze with a dull dark brown patina worn to a pale tan on some | | Bronze with a dull dark brown patina worn to a pale tan on some |
| salient curls and the shoulder blades. Hollow, lost-wax, cast. `Cast | | salient curls and the shoulder blades. Hollow, lost-wax, cast. `Cast |
| by F. W. Pomeroy from the oriSnal in the Bargell-for Mr | | by F. W. Pomeroy from the oriSnal in the Bargell-for Mr |
| Fortnum' is painted in white in the hollow interior of the base. | | Fortnum' is painted in white in the hollow interior of the base. |
| Possibly part of the bequest of c. D. E. Fortnum (see description | | Possibly part of the bequest of c. D. E. Fortnum (see description |
| above) although unmentioned in his catalogues. More probably the | | above) although unmentioned in his catalogues. More probably the |
| `bronze figure of a satyr. Italian, sixteenth century' recorded with | | `bronze figure of a satyr. Italian, sixteenth century' recorded with |
| no provenance in the Donations Book under 1933 which cannot | | no provenance in the Donations Book under 1933 which cannot |
| be identified with any other bronze now in the Ashmolean. | | be identified with any other bronze now in the Ashmolean. |
| The bronze satyr is a copy by Pomcroy of one in the Bargcllo, | | The bronze satyr is a copy by Pomcroy of one in the Bargcllo, |
| Florence (inventory number 390; no. 30 in the MS catalogue | | Florence (inventory number 390; no. 30 in the MS catalogue |
| of 1879; previously Uffizi 2551-63) which had been suggested | | of 1879; previously Uffizi 2551-63) which had been suggested |
| as a work by Michelangelo in the late nineteenth century. | | as a work by Michelangelo in the late nineteenth century. |
| century. Since then it has been attributed to Pietro Tacca, | | century. Since then it has been attributed to Pietro Tacca, |
| Danese Cattaneo, and Tiziano Minio and, more vaguely, it | | Danese Cattaneo, and Tiziano Minio and, more vaguely, it |
| has been regarded as `Paduan'. However, J. Holderbauni | | has been regarded as `Paduan'. However, J. Holderbauni |
| (`Notes on Tribol-I', 8%„/G.#:g}o# jl4:¢g#2;¢.#G (Oct. 1957), | | (`Notes on Tribol-I', 8%„/G.#:g}o# jl4:¢g#2;¢.#G (Oct. 1957), |
| n | | n | @@PROCESS |
| 340) pointed out the strong probabhity that it was the bronze | | 340) pointed out the strong probabhity that it was the bronze |
| docuinented as being cast for the grand duke of Tuscany by | | docuinented as being cast for the grand duke of Tuscany by |
| Zanobi I'ortiSani (de' Pagni) on 18 April 1549 from a model | | Zanobi I'ortiSani (de' Pagni) on 18 April 1549 from a model |
| of `uno satiro' made by Tribolo. Pomeroy's copy is very | | of `uno satiro' made by Tribolo. Pomeroy's copy is very |
| accurate but the base is slightly less high and one of the horns | | accurate but the base is slightly less high and one of the horns |
| has lost its cnd. Also of course in the original the erect penis | | has lost its cnd. Also of course in the original the erect penis |
| is not concealed by a branch. | | is not concealed by a branch. |
| Pomeroy was first apprenticcd to a firm of architectural | | Pomeroy was first apprenticcd to a firm of architectural |
| carvers and studied at the Lambcth School of Art. Hc was | | carvers and studied at the Lambcth School of Art. Hc was |
| then admitted to the Royal Academy Schools in December of | | then admitted to the Royal Academy Schools in December of |
| 1880. In the summer of 1885 he won the gold medal and | | 1880. In the summer of 1885 he won the gold medal and |
| travehing studentship which enabled him to study in Paris | | travehing studentship which enabled him to study in Paris |
| (under Merci€) and then in Italy. There seems to be no | | (under Merci€) and then in Italy. There seems to be no |
| record of him returning to Italy, so if he copied the origival | | record of him returning to Italy, so if he copied the origival |
| in Florence his model would date from this visit ( c.1886). In | | in Florence his model would date from this visit ( c.1886). In |
| any case, the cast would have to have been made before | | any case, the cast would have to have been made before |
| Fortnum's death in 1899. The popularity of the small bronze | | Fortnum's death in 1899. The popularity of the small bronze |
| statuette, the revival of lost-wax casting, and the fascination | | statuette, the revival of lost-wax casting, and the fascination |
| with nymphs, fauns, and satyrs so conspicuous in English | | with nymphs, fauns, and satyrs so conspicuous in English |
| sculpture in the last years of the nineteenth century are not | | sculpture in the last years of the nineteenth century are not |
| easily connected with the tastes of scholarly collectors of | | easily connected with the tastes of scholarly collectors of |
| Renaissance art such as Fortnum-xcept inasmuch as | | Renaissance art such as Fortnum-xcept inasmuch as |
| Fortnum was involved in the formation of the collection of | | Fortnum was involved in the formation of the collection of |
| the Victoria and Albcrt Museum. But that at least one direct | | the Victoria and Albcrt Museum. But that at least one direct |
| link existed is suggested by the inscription on this bronze. | | link existed is suggested by the inscription on this bronze. |
| What the inscription does not make clear is whether the idea | | What the inscription does not make clear is whether the idea |
| of making such a copy cane from Fortnun. Even if it did, | | of making such a copy cane from Fortnun. Even if it did, |
| his was not the only cast that Pomcroy made. | | his was not the only cast that Pomcroy made. |
| T`+.€. Pescrjp_i_i_p_: Catalogue of a Small Collection Principally | | T`+.€. Pescrjp_i_i_p_: Catalogue of a Small Collection Principally |
| a/XV£¢ ¢»d XVI£¢ Cc#f%ry 87o„zcf printed privately | | a/XV£¢ ¢»d XVI£¢ Cc#f%ry 87o„zcf printed privately |
| (apparently in an edition of 20 copics! ) in 1900 records the | | (apparently in an edition of 20 copics! ) in 1900 records the |
| Collection of Henry Pfungst when it was sold to the dealers | | Collection of Henry Pfungst when it was sold to the dealers |
| Durlacher and vycrtheimer who then sold it, in the surrmer | | Durlacher and vycrtheimer who then sold it, in the surrmer |
| n | | n | @@PROCESS |
| 147 | | 147 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| of 1901, to J. Picrpont Morgan. No. 15 on page 3 is `Figure. | | of 1901, to J. Picrpont Morgan. No. 15 on page 3 is `Figure. |
| 11 inches. I'an playing on the pipes, seated on an urn-shaped | | 11 inches. I'an playing on the pipes, seated on an urn-shaped |
| vase. Reproduction in the c¢.7c PG7i¢# process by F. W. | | vase. Reproduction in the c¢.7c PG7i¢# process by F. W. |
| Pomeroy, with a slight alteration from the origival in the | | Pomeroy, with a slight alteration from the origival in the |
| Bargello, Florence, said to be the work of Michael Angelo.' | | Bargello, Florence, said to be the work of Michael Angelo.' |
| It is interesting that Pfungst was a collector who was closely | | It is interesting that Pfungst was a collector who was closely |
| in touch with Fortnum (see No. 233 for transactions between | | in touch with Fortnum (see No. 233 for transactions between |
| them and Nos. 201 and 203 for other items from Pfungst's | | them and Nos. 201 and 203 for other items from Pfungst's |
| collection). Pfungst's version was not recorded in Bode's | | collection). Pfungst's version was not recorded in Bode's |
| catalogue of Morgan's collection of bronzes (which confined | | catalogue of Morgan's collection of bronzes (which confined |
| itself to older items) but passed to the Brummer and Chester | | itself to older items) but passed to the Brummer and Chester |
| Tripp Collections and has recently been bequeathed to the | | Tripp Collections and has recently been bequeathed to the |
| Art Institute, Chicago. It differs from the Ashmolean cast | | Art Institute, Chicago. It differs from the Ashmolean cast |
| only in that the base is not open and in that it carries two | | only in that the base is not open and in that it carries two |
| marks both incised in the wax model: on the base behind the | | marks both incised in the wax model: on the base behind the |
| vase there is a P and below the base a monogram consisting | | vase there is a P and below the base a monogram consisting |
| of a P with two Fs interlacing and a small 2 after it. | | of a P with two Fs interlacing and a small 2 after it. |
| Both the Ashmolean and Chicago casts declare themselves | | Both the Ashmolean and Chicago casts declare themselves |
| to be modern reproductions by the c¢c¢e-fc:A;c, but another | | to be modern reproductions by the c¢c¢e-fc:A;c, but another |
| cast without this and without any evident marks was sold by | | cast without this and without any evident marks was sold by |
| a descendant of Pomeroy's at Phillips, I.ondon, on 30 June | | a descendant of Pomeroy's at Phillips, I.ondon, on 30 June |
| 1987 (lot 74). Various other casts without the c¢c¢G-fc#e arc | | 1987 (lot 74). Various other casts without the c¢c¢G-fc#e arc |
| recorded. One at Sotheby's, I.ondon, on 4 November 1988, | | recorded. One at Sotheby's, I.ondon, on 4 November 1988, |
| lot 86, certainly looked like Pomeroy's work. Those for sale | | lot 86, certainly looked like Pomeroy's work. Those for sale |
| at the Chatcau de Laame, Brussels, C¢£Ofog#c dc /'erpof¢.£¢.o7¢ | | at the Chatcau de Laame, Brussels, C¢£Ofog#c dc /'erpof¢.£¢.o7¢ |
| de bronaes de la Renaissance (Se;pt.-Oct. +967)> no. 25 (ex | | de bronaes de la Renaissance (Se;pt.-Oct. +967)> no. 25 (ex |
| cat. as by Tribolo) and as lot 295, Christie's, New York, 20 | | cat. as by Tribolo) and as lot 295, Christie's, New York, 20 |
| November 1982 (as after Tribolo)-both drawn to my | | November 1982 (as after Tribolo)-both drawn to my |
| attention by Ian Wardroppcr-I have not seen. It is tempting | | attention by Ian Wardroppcr-I have not seen. It is tempting |
| to associate these latter two versions (conceivably the same | | to associate these latter two versions (conceivably the same |
| version) with Pomcroy, but one other example in a public | | version) with Pomcroy, but one other example in a public |
| collection, that in the Walters Art Gallery, Baltimore (54.626, | | collection, that in the Walters Art Gallery, Baltimore (54.626, |
| purchased from Jacques Scligmann in Paris in the carly | | purchased from Jacques Scligmann in Paris in the carly |
| decades of the century), looks like an aftercast which has been | | decades of the century), looks like an aftercast which has been |
| tooled, unlike the casts by Pomeroy, and is also of a different | | tooled, unlike the casts by Pomeroy, and is also of a different |
| colour, which suggests that someone else may have been | | colour, which suggests that someone else may have been |
| reproducing Tribolo's vigorous and lewd little S¢tyy. In this | | reproducing Tribolo's vigorous and lewd little S¢tyy. In this |
| connection it is significant that a terracotta cast of the `Piccolo | | connection it is significant that a terracotta cast of the `Piccolo |
| Satira da originale in bronzo di Pietro Tacca', 27 cms. in | | Satira da originale in bronzo di Pietro Tacca', 27 cms. in |
| height, is listed (as no. 535, XLII) in the catalogue of the | | height, is listed (as no. 535, XLII) in the catalogue of the |
| `Manifattura di Signa: Terre Cotte artistichc e decorative' | | `Manifattura di Signa: Terre Cotte artistichc e decorative' |
| which had premises in Florence (Via dc' Vecchietti 2), Rome | | which had premises in Florence (Via dc' Vecchietti 2), Rome |
| (Via del Babuino 50), Turin (Via Accademia Albertina 5), | | (Via del Babuino 50), Turin (Via Accademia Albertina 5), |
| and Paris (rue Chaussee d'Antin 12) dating from about 1910. | | and Paris (rue Chaussee d'Antin 12) dating from about 1910. |
| n | | n | @@PROCESS |
| 148 | | 148 |
| ;:;..,;T,;,..\,.,,,,"ys,,.::,,giv::is!Hifegiv,:]i | | ;:;..,;T,;,..\,.,,,,"ys,,.::,,giv::is!Hifegiv,:]i |
| - | | - |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Frederick William POMEROY ( 1856-1924) | | Frederick William POMEROY ( 1856-1924) |
| n | | n | @@PROCESS |
| 562. Perseus with the head of | | 562. Perseus with the head of |
| Medusa | | Medusa |
| 50 cms. (height including integral plinth); 3 cms. (height of | | 50 cms. (height including integral plinth); 3 cms. (height of |
| plinth); 11.35 cms. (length of plinth); 9.45 cms. (width of plinth) | | plinth); 11.35 cms. (length of plinth); 9.45 cms. (width of plinth) |
| Copper with a warm pale tan patina. Electrodeposit. The interior of | | Copper with a warm pale tan patina. Electrodeposit. The interior of |
| the integral plinth reveals the bubbled texture characteristic of this | | the integral plinth reveals the bubbled texture characteristic of this |
| process. `F. W. POMERoy. / Sc 1898.' is inscribed on the proper left | | process. `F. W. POMERoy. / Sc 1898.' is inscribed on the proper left |
| side of the base; `N° 6C' betvireen the hero's feet. | | side of the base; `N° 6C' betvireen the hero's feet. |
| Bequeathed by the Revd J. W. R. Brocklebank in November 1926. | | Bequeathed by the Revd J. W. R. Brocklebank in November 1926. |
| No.13 in Andrew Shirley's receipt of January 1927 as `A Statuette, | | No.13 in Andrew Shirley's receipt of January 1927 as `A Statuette, |
| St. George, holding head and sword'. | | St. George, holding head and sword'. |
| Pomcroy exhibited `Perseus; as a symbol of the subduing and | | Pomcroy exhibited `Perseus; as a symbol of the subduing and |
| resisting of Evil, Statuc' at the Royal Academy exhibition in | | resisting of Evil, Statuc' at the Royal Academy exhibition in |
| 1898 (no.1964). This has been asstimed to be the life-size | | 1898 (no.1964). This has been asstimed to be the life-size |
| bronze in the National Museum of wales, Cardiff, but a | | bronze in the National Museum of wales, Cardiff, but a |
| letter in the Department's archive from Pomeroy's widow, | | letter in the Department's archive from Pomeroy's widow, |
| Patricia Payne, dated 27 March 1928, confirms that it was a | | Patricia Payne, dated 27 March 1928, confirms that it was a |
| plaster cast that was exhibited. The small bronze versions are | | plaster cast that was exhibited. The small bronze versions are |
| common at London auctions and arc found in several public | | common at London auctions and arc found in several public |
| collections: the Victoria and Albert Museum; the Laing Art | | collections: the Victoria and Albert Museum; the Laing Art |
| Gallery, Newcastle upon Tyne; the Stirling Maxweu | | Gallery, Newcastle upon Tyne; the Stirling Maxweu |
| Collection, Pollok House, Glasgow. They are by no means | | Collection, Pollok House, Glasgow. They are by no means |
| all of the same quality. The Victoria and Albert's version is a | | all of the same quality. The Victoria and Albert's version is a |
| lost-wax cast with a lively surface; others such as the | | lost-wax cast with a lively surface; others such as the |
| Ashmolean's have the dead uniformity of the electrodeposit. | | Ashmolean's have the dead uniformity of the electrodeposit. |
| They also differ in several respects from the life-sized work: | | They also differ in several respects from the life-sized work: |
| most notably, the hero's lips are parted and his eyelids raised. | | most notably, the hero's lips are parted and his eyelids raised. |
| But there is also some variety in details between the reduced | | But there is also some variety in details between the reduced |
| versions. | | versions. |
| The Ashmolean's is unusual in not having `Perseus' in | | The Ashmolean's is unusual in not having `Perseus' in |
| Greek characters on the front face of the plinth. There are | | Greek characters on the front face of the plinth. There are |
| also differences in the design of the snakes suspended from | | also differences in the design of the snakes suspended from |
| the head of Medusa. In the version at Christie's, Ijondon, 29 | | the head of Medusa. In the version at Christie's, Ijondon, 29 |
| September 1989 (lot 257), they were knotted, in the version | | September 1989 (lot 257), they were knotted, in the version |
| at Phillips, Ijondon, 30 June 1987 (lot 75), they curled to | | at Phillips, Ijondon, 30 June 1987 (lot 75), they curled to |
| proper right, and so on. The number on the Ashmolean's | | proper right, and so on. The number on the Ashmolean's |
| version is unusual although a version at Sotheby's, Ijondon, | | version is unusual although a version at Sotheby's, Ijondon, |
| 23 June 1987 (lot 81), was nulnbered `N° 6C['. However, all | | 23 June 1987 (lot 81), was nulnbered `N° 6C['. However, all |
| versions that I have seen have been dated 1898 and this may | | versions that I have seen have been dated 1898 and this may |
| well be the date of the model, which is likely to be preliminary | | well be the date of the model, which is likely to be preliminary |
| to the creation of the hfe-sized work. The date at which the | | to the creation of the hfe-sized work. The date at which the |
| bronzcs were made is not certain, but one was exhibited in | | bronzcs were made is not certain, but one was exhibited in |
| 1902 at the Fine Art Society's `Sculpture for the Home' | | 1902 at the Fine Art Society's `Sculpture for the Home' |
| exhibition. The casts were then sehing for 30 guineas each. | | exhibition. The casts were then sehing for 30 guineas each. |
| (S. Beattie, 7%G Niow7 Sc#/Pf"re (New Haven, Conn., and | | (S. Beattie, 7%G Niow7 Sc#/Pf"re (New Haven, Conn., and |
| London,1983),199, citing an annotated copy of the | | London,1983),199, citing an annotated copy of the |
| catalogue.) Many of the small casts retain oriSnal pedestals | | catalogue.) Many of the small casts retain oriSnal pedestals |
| which are almost always of pG#de d¢. P"¢}o (Tuscan serpentine). | | which are almost always of pG#de d¢. P"¢}o (Tuscan serpentine). |
| Beattie justly observes of the PGrJc#f that it recalls the | | Beattie justly observes of the PGrJc#f that it recalls the |
| famous D¢p¢.¢ exhibited at the Salon in Paris in 1872 by | | famous D¢p¢.¢ exhibited at the Salon in Paris in 1872 by |
| Mercie, with whom Pomeroy had studied in 1885 after he | | Mercie, with whom Pomeroy had studied in 1885 after he |
| won the Royal Academy travelling scholarship. The D¢p¢.d | | won the Royal Academy travelling scholarship. The D¢p¢.d |
| was extensively available as a bronze of a similar size to the | | was extensively available as a bronze of a similar size to the |
| small bronze Perseus. Pomcroy's figure also recalls the heroic | | small bronze Perseus. Pomcroy's figure also recalls the heroic |
| male nudes of Gilbert (Nos. 497-8, 505) and of course the | | male nudes of Gilbert (Nos. 497-8, 505) and of course the |
| bronzes of the Renaissance which had bccn an inspiration to | | bronzes of the Renaissance which had bccn an inspiration to |
| both Merci€ and Gilbert. The accessories contrive to allude | | both Merci€ and Gilbert. The accessories contrive to allude |
| to the hero's other adventures: the hilt of his sword takes the | | to the hero's other adventures: the hilt of his sword takes the |
| form of Andromeda bound and at the mercy of the sea | | form of Andromeda bound and at the mercy of the sea |
| monster which is wound around the guard; the winged horse, | | monster which is wound around the guard; the winged horse, |
| Pegasus, forms the crest of his helmet. This latter creature | | Pegasus, forms the crest of his helmet. This latter creature |
| seems to be modelled on a small Renaissance bronze of | | seems to be modelled on a small Renaissance bronze of |
| similarly sketchy character an example of which, in Fortnun's | | similarly sketchy character an example of which, in Fortnun's |
| collection (8. 438), Pomeroy, who worked for Fortnuni (see | | collection (8. 438), Pomeroy, who worked for Fortnuni (see |
| No. 561), may well have studied. There are other instances in | | No. 561), may well have studied. There are other instances in |
| Pomeroy's bronzes of his close acquaintance with Renaissance | | Pomeroy's bronzes of his close acquaintance with Renaissance |
| bronzes. He even initiated for his small bronze of the young | | bronzes. He even initiated for his small bronze of the young |
| B¢cc¢#J (possibly exhibited 1890 but most casts are dated | | B¢cc¢#J (possibly exhibited 1890 but most casts are dated |
| 1903) a type of triangular base with hoof feet employed by | | 1903) a type of triangular base with hoof feet employed by |
| Severo da Ravenna. | | Severo da Ravenna. |
| n | | n | @@PROCESS |
| 149 | | 149 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Jancs PRYDE ( 1866-1941 ) | | Jancs PRYDE ( 1866-1941 ) |
| n | | n | @@PROCESS |
| 563. John Willet | | 563. John Willet |
| 38 cms. (height including integral plinth); 8 cms. (height of | | 38 cms. (height including integral plinth); 8 cms. (height of |
| integral plinth); 14.9 cms. (length of integral plinth); 10.8 cms. | | integral plinth); 14.9 cms. (length of integral plinth); 10.8 cms. |
| (width of integral plinth) | | (width of integral plinth) |
| Wood, probably Honduras mahogany, carved and painted. The | | Wood, probably Honduras mahogany, carved and painted. The |
| plinth is integral: a slight vertical opening in both sides of it and in | | plinth is integral: a slight vertical opening in both sides of it and in |
| the stump support reveals a join. The figure has probably been | | the stump support reveals a join. The figure has probably been |
| carved from three blocks joined vertically; hints of the join of the | | carved from three blocks joined vertically; hints of the join of the |
| third smaller piece may be found in the belly and beer jug. There | | third smaller piece may be found in the belly and beer jug. There |
| are small chips to the plinth at proper lower left front comer and | | are small chips to the plinth at proper lower left front comer and |
| lower right back comer. The colours of the paint (shades of brown | | lower right back comer. The colours of the paint (shades of brown |
| and khaki grey) other than black may have darkened but are always | | and khaki grey) other than black may have darkened but are always |
| likely to have been smoky. The colour of the mahogany shines | | likely to have been smoky. The colour of the mahogany shines |
| through the black paint in a few worn areas. The name `John Willet' | | through the black paint in a few worn areas. The name `John Willet' |
| painted in black on the front face of the plinth is slightly worn in | | painted in black on the front face of the plinth is slightly worn in |
| the last letters. | | the last letters. |
| Purchased for £5,500 from the exhibition of Pryde's work at the | | Purchased for £5,500 from the exhibition of Pryde's work at the |
| Redfem Gallery, 20 Cork St (22 Sept.-26 0ct. 1988), where it was | | Redfem Gallery, 20 Cork St (22 Sept.-26 0ct. 1988), where it was |
| no. 21 (illustrated in the catalogue). Purchase finalized on 9 | | no. 21 (illustrated in the catalogue). Purchase finalized on 9 |
| December 1988 using the Bouch Bequest Fund (£1,500), the | | December 1988 using the Bouch Bequest Fund (£1,500), the |
| France Fund (£1,000), and the Mary Freeman Bequest Fund | | France Fund (£1,000), and the Mary Freeman Bequest Fund |
| (£3,000). The sculpture was sold through the Redfern Gallery by | | (£3,000). The sculpture was sold through the Redfern Gallery by |
| Peyton Skipwith of the Fine All Society. Mr Skipwith bought it | | Peyton Skipwith of the Fine All Society. Mr Skipwith bought it |
| from Marguerite Steen. She inherited it from the artist's friend, | | from Marguerite Steen. She inherited it from the artist's friend, |
| brother-in-law, and collaborator Sir William Nicholson. Previous to | | brother-in-law, and collaborator Sir William Nicholson. Previous to |
| this it belonged to Barney Scale. | | this it belonged to Barney Scale. |
| Derek Hudson in /¢owGf Prydc (I.ondon, 1949), 58 and 98, | | Derek Hudson in /¢owGf Prydc (I.ondon, 1949), 58 and 98, |
| discusses this statuette and illustrates it or a version of it | | discusses this statuette and illustrates it or a version of it |
| (pl. XIII). `A friend remembers him [Prydc] sitting in a swivel | | (pl. XIII). `A friend remembers him [Prydc] sitting in a swivel |
| chair, working on some little figure, but ready to swing round | | chair, working on some little figure, but ready to swing round |
| to his easel at the first sign of his wife's approach! His statuette | | to his easel at the first sign of his wife's approach! His statuette |
| of O/d/oA# W¢.//cf, the landlord of the "Maypole" in B¢ow¢ky | | of O/d/oA# W¢.//cf, the landlord of the "Maypole" in B¢ow¢ky |
| R„dz7G, is typical of the large Rabelaisian. quality and strong | | R„dz7G, is typical of the large Rabelaisian. quality and strong |
| virile understanding that gave us /o„oc¢f. ' Hudson records | | virile understanding that gave us /o„oc¢f. ' Hudson records |
| the statue as of plaster and there may have been another | | the statue as of plaster and there may have been another |
| version, perhaps a cast of this one, in that medium, but this | | version, perhaps a cast of this one, in that medium, but this |
| statucttc is not at first sight obviously of wood. The sculpture | | statucttc is not at first sight obviously of wood. The sculpture |
| is undatcd but the rhythmic stylization of the bulgivg | | is undatcd but the rhythmic stylization of the bulgivg |
| rotundities is very suggestive of the imagery which Pryde and | | rotundities is very suggestive of the imagery which Pryde and |
| Nicholson invented together in their woodcuts of the mid- | | Nicholson invented together in their woodcuts of the mid- |
| 1890s where the traditional British tradesman and servant | | 1890s where the traditional British tradesman and servant |
| class often have a menacing appearance-although the | | class often have a menacing appearance-although the |
| grotesque buufrog proportions and protruding eyes of this | | grotesque buufrog proportions and protruding eyes of this |
| figure are more grotesque than anything there. They are also | | figure are more grotesque than anything there. They are also |
| unlike anything else in British art and were perhaps suggested | | unlike anything else in British art and were perhaps suggested |
| by Daumier. It reminds us of Prydc's fascination with the | | by Daumier. It reminds us of Prydc's fascination with the |
| stage and with the eighteenth century of Hogarth, but also | | stage and with the eighteenth century of Hogarth, but also |
| of his alcohohsm which must have endowed a supplier such | | of his alcohohsm which must have endowed a supplier such |
| as Wiuet with a nightmare status. | | as Wiuet with a nightmare status. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Charles dc Souay RICKETTS RA ( 1866-1931 ) | | Charles dc Souay RICKETTS RA ( 1866-1931 ) |
| With the workshop of c. and A. Giuliano | | With the workshop of c. and A. Giuliano |
| n | | n | @@PROCESS |
| 564. Pendant medallion portrait of | | 564. Pendant medallion portrait of |
| Ryllis Hacon in a framework of | | Ryllis Hacon in a framework of |
| scrolls and leaves | | scrolls and leaves |
| 9.7 cms. (height, including suspension loop); 5.9 cms. (width); | | 9.7 cms. (height, including suspension loop); 5.9 cms. (width); |
| 3.15 cms. (diameter of medallion) | | 3.15 cms. (diameter of medallion) |
| Gold with enamcls, pearls, precious, and semi-precious stones. The | | Gold with enamcls, pearls, precious, and semi-precious stones. The |
| profile head is embossed on a circular medallion of thin gold. `C.R' | | profile head is embossed on a circular medallion of thin gold. `C.R' |
| is scratched beneath the bun and the neck. This medallion is backed | | is scratched beneath the bun and the neck. This medallion is backed |
| by a thicker plate of gold with chanplev6 enamels of blue and green | | by a thicker plate of gold with chanplev6 enamels of blue and green |
| and is set in a framework consisting of gold scrolls with c/o¢.fo#7?c' | | and is set in a framework consisting of gold scrolls with c/o¢.fo#7?c' |
| white and blue enamels and of leaves with green enamel. The green | | white and blue enamels and of leaves with green enamel. The green |
| and blue enamels are G» 4¢j:tc }#¢.//c (translucent to reveal the ribbed | | and blue enamels are G» 4¢j:tc }#¢.//c (translucent to reveal the ribbed |
| surface of the gold below). The leaves at the top form a mask, its | | surface of the gold below). The leaves at the top form a mask, its |
| eyes set with rubies or gamets and its mouth perforated with a larger | | eyes set with rubies or gamets and its mouth perforated with a larger |
| ruby or garnet within it. Attached to the franc arc four irregular | | ruby or garnet within it. Attached to the franc arc four irregular |
| emeralds and two irregular rubies set in claws, and five pearls set in | | emeralds and two irregular rubies set in claws, and five pearls set in |
| cups. In addition three baroque pearls are suspended from the | | cups. In addition three baroque pearls are suspended from the |
| frame, the larger, central one, below a sapphire. From the back it is | | frame, the larger, central one, below a sapphire. From the back it is |
| clear that the two claws holding the rubies are of a warmer gold than | | clear that the two claws holding the rubies are of a warmer gold than |
| the frame and have been soldered on to it: so these may represent | | the frame and have been soldered on to it: so these may represent |
| a revision to the origival design. There is a reinforcement in the | | a revision to the origival design. There is a reinforcement in the |
| same warmer gold to the claw holding the emerald to proper left of | | same warmer gold to the claw holding the emerald to proper left of |
| the lower part of the fromc. | | the lower part of the fromc. |
| Given by Mrs Robichaud (nee Hacon) of Overstys Cottage, | | Given by Mrs Robichaud (nee Hacon) of Overstys Cottage, |
| Domoch, Scotland, in memory of w. IJewcllyn Hacon (her father). | | Domoch, Scotland, in memory of w. IJewcllyn Hacon (her father). |
| Registered on 20 June 1952. Placed on display with the late-nineteenth- | | Registered on 20 June 1952. Placed on display with the late-nineteenth- |
| century British bronzcs in May 1989. | | century British bronzcs in May 1989. |
| Ryllis (for Amaryllis) was the name by which Edith Broadbent, | | Ryllis (for Amaryllis) was the name by which Edith Broadbent, |
| a noted beauty and model, was known in artistic circles. She | | a noted beauty and model, was known in artistic circles. She |
| married Llewellyn Hacon, a wealthy lawyer who was the | | married Llewellyn Hacon, a wealthy lawyer who was the |
| partner of Charles Rickctts and his ffiend Charles H. Shannon | | partner of Charles Rickctts and his ffiend Charles H. Shannon |
| in the Vale Press-the chief venture in the lives of these two | | in the Vale Press-the chief venture in the lives of these two |
| artists between 1896 and 1904. She had previously been a | | artists between 1896 and 1904. She had previously been a |
| favourite model of Shannon's. The pendant is said to date | | favourite model of Shannon's. The pendant is said to date |
| from 1900 and was perhaps presented by the artist to the | | from 1900 and was perhaps presented by the artist to the |
| sitter. RIcketts seems to have begun making designs for | | sitter. RIcketts seems to have begun making designs for |
| jewcllcry in 1899. Certainly the first of his designs which is | | jewcllcry in 1899. Certainly the first of his designs which is |
| documented as having actually been realized was a pendant, | | documented as having actually been realized was a pendant, |
| intended to be won by Icarus in one of his paintings, | | intended to be won by Icarus in one of his paintings, |
| presented to his friend, the poet Katherine Bradley, in 1899. | | presented to his friend, the poet Katherine Bradley, in 1899. |
| An album in the British Museum entitled by RIcketts | | An album in the British Museum entitled by RIcketts |
| `Dcsigns for Jewels done in RIchmond 1899' ( 198a.43) | | `Dcsigns for Jewels done in RIchmond 1899' ( 198a.43) |
| includes other designs incorporating similar scrolls and leaves | | includes other designs incorporating similar scrolls and leaves |
| and a mask in the frame ( 1962-8-9-2 ( 1 ), (2), (3) ). The | | and a mask in the frame ( 1962-8-9-2 ( 1 ), (2), (3) ). The |
| preliminary drawing for this jewel is included in this album | | preliminary drawing for this jewel is included in this album |
| (ibid. (37) ). It differs in that the blue enamel in the scrolls is | | (ibid. (37) ). It differs in that the blue enamel in the scrolls is |
| unbroken, the sapphire is a ruby, there is only one central | | unbroken, the sapphire is a ruby, there is only one central |
| baroque pearl, and no rubies are attached to the sides. | | baroque pearl, and no rubies are attached to the sides. |
| Ricketts was not the first British painter in this period to | | Ricketts was not the first British painter in this period to |
| have been keenly involved in the design of jcwcuery. It was, | | have been keenly involved in the design of jcwcuery. It was, |
| in particular, an intcrcst of Burne-Jones in his late years. There | | in particular, an intcrcst of Burne-Jones in his late years. There |
| Charles Ricketts original design for the | | Charles Ricketts original design for the |
| Hacon pendant (above) and | | Hacon pendant (above) and |
| preliminary sketch probably for the | | preliminary sketch probably for the |
| same (below). British Museum | | same (below). British Museum |
| n | | n | @@PROCESS |
| 151 | | 151 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| had also been many instances of special jewels being made in | | had also been many instances of special jewels being made in |
| order to be included in paintings, especially those of an | | order to be included in paintings, especially those of an |
| archacolodcal character (see C. Gerc and G. Munn, Arfz.fff' | | archacolodcal character (see C. Gerc and G. Munn, Arfz.fff' |
| /c.n7c//cry (I.ondon,1989), for this phenomenon). RIcketts's | | /c.n7c//cry (I.ondon,1989), for this phenomenon). RIcketts's |
| involvcmcnt is of particular significance, because it was through | | involvcmcnt is of particular significance, because it was through |
| jcwcllery, then attracting leading British sculptors such as | | jcwcllery, then attracting leading British sculptors such as |
| Gilbert and Frampton, that he discovered his talents as a | | Gilbert and Frampton, that he discovered his talents as a |
| sculptor, to which indeed he turned in 1905 after hc ceased | | sculptor, to which indeed he turned in 1905 after hc ceased |
| to design jcwcllcry. In the case of this pendant the embossed | | to design jcwcllcry. In the case of this pendant the embossed |
| relief is entirely by RIcketts (said to have been executed with | | relief is entirely by RIcketts (said to have been executed with |
| a penknife and lead pencil). The setting, as was usual with | | a penknife and lead pencil). The setting, as was usual with |
| his jewels, was not made by him but was designed by him, | | his jewels, was not made by him but was designed by him, |
| carefully supervised by him, and probably revised (as is | | carefully supervised by him, and probably revised (as is |
| suggested by both comparison with the drawing and | | suggested by both comparison with the drawing and |
| examination of the gold) to suit him. | | examination of the gold) to suit him. |
| Next to the drawings for this jewel in the album in the | | Next to the drawings for this jewel in the album in the |
| British Museum is another, sketchier and uncoloured, in pen | | British Museum is another, sketchier and uncoloured, in pen |
| for a framed profile portrait (ibid. (38) ), which has something | | for a framed profile portrait (ibid. (38) ), which has something |
| of the calligraphic freedom of Gilbert. It is likely to be an | | of the calligraphic freedom of Gilbert. It is likely to be an |
| early idea for the Hacon jcwcl but in it the lines of the hair | | early idea for the Hacon jcwcl but in it the lines of the hair |
| are taken up in the composition of the frame. It is also | | are taken up in the composition of the frame. It is also |
| noteworthy that in the drawing the profile faces right, as is | | noteworthy that in the drawing the profile faces right, as is |
| more usual. No doubt Mrs Hacon faces left because the | | more usual. No doubt Mrs Hacon faces left because the |
| embossing was carried out for the most part on the reverse | | embossing was carried out for the most part on the reverse |
| of the medallion. The most ambitious of RIcketts's jewels- | | of the medallion. The most ambitious of RIcketts's jewels- |
| `a pendant of pendants which will tear all lace and scratch | | `a pendant of pendants which will tear all lace and scratch |
| babies'-was completed in March 1904 as a betrothal Sft | | babies'-was completed in March 1904 as a betrothal Sft |
| for Maria Appia and Thomas Sturge-Moore (today in the | | for Maria Appia and Thomas Sturge-Moore (today in the |
| Fitzwilliam Museum). In it the coloured stones and ornament | | Fitzwilliam Museum). In it the coloured stones and ornament |
| are fully integrated with bolder rclicf sculpture-which | | are fully integrated with bolder rclicf sculpture-which |
| rcprcscnts the Descent of Psyche into Hell-whereas in this | | rcprcscnts the Descent of Psyche into Hell-whereas in this |
| cahier work frame and portrait were conceived of, and indeed | | cahier work frame and portrait were conceived of, and indeed |
| created, separately. The leaf ornament at the top of the frame | | created, separately. The leaf ornament at the top of the frame |
| in the Ashmolcan's pendant, forming a grotesque mask of | | in the Ashmolcan's pendant, forming a grotesque mask of |
| green enamel with stones set in the eyes and open mouth, | | green enamel with stones set in the eyes and open mouth, |
| was to be repcatcd more boldly in the Descent of Psyche | | was to be repcatcd more boldly in the Descent of Psyche |
| pendant, but there it has a symbolic meaning, suggesting | | pendant, but there it has a symbolic meaning, suggesting |
| Psyche's teinfying destination, whereas it has no such | | Psyche's teinfying destination, whereas it has no such |
| relationship with Mrs Hacon (one hopes). | | relationship with Mrs Hacon (one hopes). |
| All of RIcketts's jewellery was executed by, or rather with, | | All of RIcketts's jewellery was executed by, or rather with, |
| `Giuliani frores', that is the workshop of Arthur Alphonse | | `Giuliani frores', that is the workshop of Arthur Alphonse |
| Giuliano ( c.1864-1914). Arthur was the son of carlo Giuliano | | Giuliano ( c.1864-1914). Arthur was the son of carlo Giuliano |
| (c.183l-95), a Neapolitan by birth, who came to London in | | (c.183l-95), a Neapolitan by birth, who came to London in |
| about 1860, probably with the great Italian jewcllcr, | | about 1860, probably with the great Italian jewcllcr, |
| goldsmith, antiquarian, dealer, and collector Alessandro | | goldsmith, antiquarian, dealer, and collector Alessandro |
| Castellani who had bccn based in Paris, but is known to have | | Castellani who had bccn based in Paris, but is known to have |
| wanted to open premises in I.ondon in the early 1860s. | | wanted to open premises in I.ondon in the early 1860s. |
| Giuliano, who had certainly been an associate and probably | | Giuliano, who had certainly been an associate and probably |
| an employee of Castcllani, may have been proposed as the | | an employee of Castcllani, may have been proposed as the |
| I.ondon manager but he set up independently with a | | I.ondon manager but he set up independently with a |
| workshop in Frith Street and in 1874 opened his own shop | | workshop in Frith Street and in 1874 opened his own shop |
| at 115 Piccadilly. The business was inherited by his sons Carlo | | at 115 Piccadilly. The business was inherited by his sons Carlo |
| Joseph and Arthur Alphonse, but the former seems not to | | Joseph and Arthur Alphonse, but the former seems not to |
| have bccn active in it. Both Carlo and his son Arthur were | | have bccn active in it. Both Carlo and his son Arthur were |
| accomplished `rcvivalist' jewcllers imitating, and on occasion | | accomplished `rcvivalist' jewcllers imitating, and on occasion |
| replicating, Egyptian, Etruscan, Greek, Gothic, Renaissance, | | replicating, Egyptian, Etruscan, Greek, Gothic, Renaissance, |
| and lndial\ wock. (G. C. Mann. Castellani and Gittliani | | and lndial\ wock. (G. C. Mann. Castellani and Gittliani |
| (Fribourg, 1984), 47-75, cspccially 47-55 for an introduction | | (Fribourg, 1984), 47-75, cspccially 47-55 for an introduction |
| n | | n | @@PROCESS |
| 152 | | 152 |
| to the Giuliani, 68-9 for the work of Ricketts, pls. 29-30, | | to the Giuliani, 68-9 for the work of Ricketts, pls. 29-30, |
| and captions on page 35 for this pendant.) | | and captions on page 35 for this pendant.) |
| For Ricketts and the Hacons see J. C. P. Delaney, Cho7i/cJ | | For Ricketts and the Hacons see J. C. P. Delaney, Cho7i/cJ |
| R£.c4c#r (Oxford,1991), 95 and 140. | | R£.c4c#r (Oxford,1991), 95 and 140. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| I.ouis-Fran¢ois ROUBILIAC ( 1702 or 1705nd2) | | I.ouis-Fran¢ois ROUBILIAC ( 1702 or 1705nd2) |
| n | | n | @@PROCESS |
| 565. Modello for the monument to | | 565. Modello for the monument to |
| George Frideric Handel in | | George Frideric Handel in |
| Westminster Abbey | | Westminster Abbey |
| 98 cms. (height) | | 98 cms. (height) |
| Terracotta and plaster of Paris. The background is of terracotta | | Terracotta and plaster of Paris. The background is of terracotta |
| above the dado mouldings at the height of the figure's waist. There | | above the dado mouldings at the height of the figure's waist. There |
| arc several breaks in it all of which have been repalrcd. It is attached | | arc several breaks in it all of which have been repalrcd. It is attached |
| by plaster to a slab of slate to which the lower portion of the | | by plaster to a slab of slate to which the lower portion of the |
| background, which is of wood and plaster, is also fixed. The plaster | | background, which is of wood and plaster, is also fixed. The plaster |
| has been coloured to match the terracotta. The figure with papers, | | has been coloured to match the terracotta. The figure with papers, |
| table, draperies, and horn arc of terracotta, hollowed out to some | | table, draperies, and horn arc of terracotta, hollowed out to some |
| extent behind. There are also several holes in the rear, one of which | | extent behind. There are also several holes in the rear, one of which |
| pierces the model entirely bctwecn the figure's legs. The figure | | pierces the model entirely bctwecn the figure's legs. The figure |
| appears to have been given a plaster base, coloured to match the | | appears to have been given a plaster base, coloured to match the |
| clay, but it is possible that this base is of terracotta extensively | | clay, but it is possible that this base is of terracotta extensively |
| reinforced with plaster. There are several obvious repair lines: on | | reinforced with plaster. There are several obvious repair lines: on |
| the horn, and at the top of the shcct music, for example. One corner | | the horn, and at the top of the shcct music, for example. One corner |
| of the sheet music has been made up with plaster as has a large | | of the sheet music has been made up with plaster as has a large |
| portion of the first fold of the coat to proper right. After examination | | portion of the first fold of the coat to proper right. After examination |
| by X-ray and binocular microscope at the Victoria and Albert | | by X-ray and binocular microscope at the Victoria and Albert |
| Museum in 1984 a report was submitted to the Keeper (in the form | | Museum in 1984 a report was submitted to the Keeper (in the form |
| of a letter from Malcolm Baker dated 23 October) suggesting that | | of a letter from Malcolm Baker dated 23 October) suggesting that |
| the surface was at one time covered in white paint. The report also | | the surface was at one time covered in white paint. The report also |
| pointed out that the composer's right arin was modelled separately | | pointed out that the composer's right arin was modelled separately |
| and inserted into the sleeve. This is in fact evident without artificial | | and inserted into the sleeve. This is in fact evident without artificial |
| aids, for the arm is modelled entirely in the round and yet placed | | aids, for the arm is modelled entirely in the round and yet placed |
| only a hair's breadth from the body. Examination with the naked | | only a hair's breadth from the body. Examination with the naked |
| eye also reveals that the lower part of the composer's left leg was | | eye also reveals that the lower part of the composer's left leg was |
| separately modelled. The portion of the cloak which has been made | | separately modelled. The portion of the cloak which has been made |
| up with plaster was loosened during the examination of the work | | up with plaster was loosened during the examination of the work |
| in October 1984 and subsequently reattached. | | in October 1984 and subsequently reattached. |
| Given by James Wyatt in 1848 to the University Gallery (Donations | | Given by James Wyatt in 1848 to the University Gallery (Donations |
| Book, p.11). Mr. Wyatt was an alt dealer, print publisher, franc | | Book, p.11). Mr. Wyatt was an alt dealer, print publisher, franc |
| maker, and picture restorer in Oxford's High Street whose firm had | | maker, and picture restorer in Oxford's High Street whose firm had |
| many close associations with the University Galleries in its early | | many close associations with the University Galleries in its early |
| years. Scc also No. 542. The %ode//a seems to have been placed on | | years. Scc also No. 542. The %ode//a seems to have been placed on |
| a pedestal veneered with yGzde ¢#Jfro (green and grey-green breccia). | | a pedestal veneered with yGzde ¢#Jfro (green and grey-green breccia). |
| In more recent years it has been supported on a pedestal of wood | | In more recent years it has been supported on a pedestal of wood |
| covcrcd with the blue brocade of the walls of the Chambers Hall | | covcrcd with the blue brocade of the walls of the Chambers Hall |
| Gallery in which it is placed. The H¢»dfroo4 G#¢.def reveal that it | | Gallery in which it is placed. The H¢»dfroo4 G#¢.def reveal that it |
| was in the Fortnum Room in 1909 and the RIffaello Room in | | was in the Fortnum Room in 1909 and the RIffaello Room in |
| 1931, and photographs show it in the Hill Music Room in the | | 1931, and photographs show it in the Hill Music Room in the |
| 1950s. The pcrfe a"f¢.co would have matched the Music Room | | 1950s. The pcrfe a"f¢.co would have matched the Music Room |
| skirting. | | skirting. |
| Roubhiac's famous monument to Handel in Westminster | | Roubhiac's famous monument to Handel in Westminster |
| Abbey was commissioned with the ftoo which the composer | | Abbey was commissioned with the ftoo which the composer |
| left for this purpose in his win. A fee was paid to the Abbey | | left for this purpose in his win. A fee was paid to the Abbey |
| in 1759, the year of the composer's death, and the monument | | in 1759, the year of the composer's death, and the monument |
| was unveiled on 10 July 1762 according to the GGce*/G%¢%'J | | was unveiled on 10 July 1762 according to the GGce*/G%¢%'J |
| A4¢gr¢zG.#c, 32: 340. The Ashmolean model differs in few | | A4¢gr¢zG.#c, 32: 340. The Ashmolean model differs in few |
| details fi.om the marble. In the latter the composcr's irises arc | | details fi.om the marble. In the latter the composcr's irises arc |
| unmarked and, since his index finger has been broken off, | | unmarked and, since his index finger has been broken off, |
| We cannot be certain that it pointed to heaven. Also in the | | We cannot be certain that it pointed to heaven. Also in the |
| marble the lower sheet is chiselled with the word `MESSIAH' | | marble the lower sheet is chiselled with the word `MESSIAH' |
| and the higher with `Larghctto / I know that my Redeemer | | and the higher with `Larghctto / I know that my Redeemer |
| liveth / and that Hc shall stand / . . . at the last . . .' | | liveth / and that Hc shall stand / . . . at the last . . .' |
| There is a smaller terracotta model (35.7 cms. in height) | | There is a smaller terracotta model (35.7 cms. in height) |
| said to have been found in recent years in a Bristol antique | | said to have been found in recent years in a Bristol antique |
| shop and subsequently sold to `the Gerald Coke Handel | | shop and subsequently sold to `the Gerald Coke Handel |
| Collcction' (reproduced in colour in the catalogue of the | | Collcction' (reproduced in colour in the catalogue of the |
| =r±Ibiti?n R?c?:.o: Art and Desizgn in Hogarth'-s England | | =r±Ibiti?n R?c?:.o: Art and Desizgn in Hogarth'-s England |
| (Victoria and Albert Museum, 16 May-30 Sept. 1984), | | (Victoria and Albert Museum, 16 May-30 Sept. 1984), |
| pl. XXVI). In this smancr version the angel is placed nearer | | pl. XXVI). In this smancr version the angel is placed nearer |
| to the composer, the feet seeming to touch his head which | | to the composer, the feet seeming to touch his head which |
| is here covered with a nightcap; the composer does not look | | is here covered with a nightcap; the composer does not look |
| up as if rapt by t:he angelic harping, but vacantly out to his | | up as if rapt by t:he angelic harping, but vacantly out to his |
| left; he has his right hand on the further edge of his score and | | left; he has his right hand on the further edge of his score and |
| his left also on it at the top left-hand corner. Some passages | | his left also on it at the top left-hand corner. Some passages |
| of modelling-most notably the draperies and legs of the | | of modelling-most notably the draperies and legs of the |
| harpisrrirc lively but perfunctory, the hands, being | | harpisrrirc lively but perfunctory, the hands, being |
| summary, look feeble, and the unbroken ffll of the composcr's | | summary, look feeble, and the unbroken ffll of the composcr's |
| cloak is heavy and dull. The handling, however, with its dabs | | cloak is heavy and dull. The handling, however, with its dabs |
| and pokes, is quite close to that of the model for the | | and pokes, is quite close to that of the model for the |
| monument to John, 2nd duke of Montagu (Victoria and | | monument to John, 2nd duke of Montagu (Victoria and |
| Albert Museum, A.6-1947). | | Albert Museum, A.6-1947). |
| The working of the clay in the Ashmolean model is unusual | | The working of the clay in the Ashmolean model is unusual |
| for its careful finish and most unusual on account of the | | for its careful finish and most unusual on account of the |
| modelling and the texture of the composcr's hands and face | | modelling and the texture of the composcr's hands and face |
| which make them more refined and more vital than anything | | which make them more refined and more vital than anything |
| in any surviving small terracotta by the sculptor. The texture | | in any surviving small terracotta by the sculptor. The texture |
| is achieved by hatching with a fine tool in the clay when it | | is achieved by hatching with a fine tool in the clay when it |
| was leather-hard. This is also found in the high-relief bust | | was leather-hard. This is also found in the high-relief bust |
| portrait of Oliver Cromwcn in the Royal Ontario Muscun, | | portrait of Oliver Cromwcn in the Royal Ontario Muscun, |
| Toronto (959.492), but not, for example, in the face of | | Toronto (959.492), but not, for example, in the face of |
| Handel in the model for his statue in Vaurhall Gardens | | Handel in the model for his statue in Vaurhall Gardens |
| (Fitzwilliam Museum, M3-1922). It is more typical of | | (Fitzwilliam Museum, M3-1922). It is more typical of |
| Rysbrack's work on this scale (the face of Ncvlon in the | | Rysbrack's work on this scale (the face of Ncvlon in the |
| model for his monument is a striking example-Victoria and | | model for his monument is a striking example-Victoria and |
| Albert Museum, A.1-1938). The handling of the raised hand | | Albert Museum, A.1-1938). The handling of the raised hand |
| especially may be compared with that in some sculpture by | | especially may be compared with that in some sculpture by |
| Jean-Baptiste I,emoyne, such as the terracotta bust of | | Jean-Baptiste I,emoyne, such as the terracotta bust of |
| Fontenellc in the Mus6c des Beaux-Arts, Lyon ( 1974-4). | | Fontenellc in the Mus6c des Beaux-Arts, Lyon ( 1974-4). |
| There were four `dcsigns' for `Mr. Handen' in lot 70 on | | There were four `dcsigns' for `Mr. Handen' in lot 70 on |
| the second day of Roubiliac's studio sale at hagford's, | | the second day of Roubiliac's studio sale at hagford's, |
| Ijondon, 13 May 1762, and these might weu have been | | Ijondon, 13 May 1762, and these might weu have been |
| terracotta sketches and have included this piece. | | terracotta sketches and have included this piece. |
| Although catalogued in the Rococo exhibition (cited above, | | Although catalogued in the Rococo exhibition (cited above, |
| no. S 46, p. 307) as `attributed to Roubiliac', the compiler | | no. S 46, p. 307) as `attributed to Roubiliac', the compiler |
| has since informed me that he has no doubts concerning its | | has since informed me that he has no doubts concerning its |
| status. Its tcchniquc is certainly peculiar: but the combination | | status. Its tcchniquc is certainly peculiar: but the combination |
| of plaster and terracotta, whilst in pa]t due to restoration, is | | of plaster and terracotta, whilst in pa]t due to restoration, is |
| certainly also in part origival and is characteristic of Roubihac, | | certainly also in part origival and is characteristic of Roubihac, |
| as may be seen, for instance, from the way a plaster soclc is | | as may be seen, for instance, from the way a plaster soclc is |
| attached to his terracotta bust of Hogarth in the National | | attached to his terracotta bust of Hogarth in the National |
| Portrait Gallery. | | Portrait Gallery. |
| A sample was taken from the terracotta by Mrs Doreen | | A sample was taken from the terracotta by Mrs Doreen |
| Stonehan of the Oxford Research Laboratory for | | Stonehan of the Oxford Research Laboratory for |
| Archaeology and the History of Art in March 1987 and | | Archaeology and the History of Art in March 1987 and |
| thermo-lumincsccncc tests suggested a date between 1767 | | thermo-lumincsccncc tests suggested a date between 1767 |
| and 1847 (ref. 48l-a-30). If this result is trusted then the | | and 1847 (ref. 48l-a-30). If this result is trusted then the |
| possibility of the model being made after the marble was | | possibility of the model being made after the marble was |
| complctcd should be considered. | | complctcd should be considered. |
| n | | n | @@PROCESS |
| 153 | | 153 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| had also been many instances of special jewels being made in | | had also been many instances of special jewels being made in |
| order to be included in paintings, especially those of an | | order to be included in paintings, especially those of an |
| archaeolodcal character (see C. Gere and G. Munn, Arfz.fff' | | archaeolodcal character (see C. Gere and G. Munn, Arfz.fff' |
| JowG//ey (Ijondon, 1989), for this phenomenon). Rickctts's | | JowG//ey (Ijondon, 1989), for this phenomenon). Rickctts's |
| involvementisofparticularsignificance,becauseitwasthrough | | involvementisofparticularsignificance,becauseitwasthrough |
| jewellery, then attracting leading British sculptors such as | | jewellery, then attracting leading British sculptors such as |
| Gilbert and Frampton, that he discovered his talents as a | | Gilbert and Frampton, that he discovered his talents as a |
| sculptor, to which indeed he tuned in 1905 after he ceased | | sculptor, to which indeed he tuned in 1905 after he ceased |
| to design jewellery. In the case of this pendant the embossed | | to design jewellery. In the case of this pendant the embossed |
| relief is entirely by RIcketts (said to have been executed with | | relief is entirely by RIcketts (said to have been executed with |
| a penknife and lead pencil). The setting, as was usual with | | a penknife and lead pencil). The setting, as was usual with |
| his jewels, was not made by him but was designed by him, | | his jewels, was not made by him but was designed by him, |
| carefuuy supervised by him, and probably revised (as is | | carefuuy supervised by him, and probably revised (as is |
| suggested by both comparison with the drawing and | | suggested by both comparison with the drawing and |
| examination of the gold) to suit him. | | examination of the gold) to suit him. |
| Next to the drawings for this jewel in the album in the | | Next to the drawings for this jewel in the album in the |
| British Museuni is another, sketchier and uncolourcd, in pen | | British Museuni is another, sketchier and uncolourcd, in pen |
| for a framed profile portrait (ibid. (38) ), which has something | | for a framed profile portrait (ibid. (38) ), which has something |
| of the calligraphic freedom of Gilbert. It is likely to be an | | of the calligraphic freedom of Gilbert. It is likely to be an |
| early idea for the Hacon jewel but in it the lines of the hair | | early idea for the Hacon jewel but in it the lines of the hair |
| are taken up in the composition of the frame. It is also | | are taken up in the composition of the frame. It is also |
| noteworthy that in the drawing the profile faces right, as is | | noteworthy that in the drawing the profile faces right, as is |
| more usual. No doubt Mrs Hacon faces left because the | | more usual. No doubt Mrs Hacon faces left because the |
| embossing was carried out for the most part on the reverse | | embossing was carried out for the most part on the reverse |
| of the medallion. The most ambitious of Rickctts's jewels- | | of the medallion. The most ambitious of Rickctts's jewels- |
| `a pendant of pendants which win tear all lace and scratch | | `a pendant of pendants which win tear all lace and scratch |
| babies'-was completed in March 1904 as a betrothal aft | | babies'-was completed in March 1904 as a betrothal aft |
| for Maria Appia and Thomas Sturgc-Moorc (today in the | | for Maria Appia and Thomas Sturgc-Moorc (today in the |
| Fitzwilliam Museum). In it the coloured stones and ornament | | Fitzwilliam Museum). In it the coloured stones and ornament |
| are fully intcgratcd with bolder rehef sculpture-which | | are fully intcgratcd with bolder rehef sculpture-which |
| represents the Descent of Psyche into Hell-whereas in this | | represents the Descent of Psyche into Hell-whereas in this |
| earlier work frame and portrait wcrc conceived of, and indeed | | earlier work frame and portrait wcrc conceived of, and indeed |
| created, separately. The leaf ornament at the top of the frame | | created, separately. The leaf ornament at the top of the frame |
| in the Ashmolean's pendant, forming a grotesque mask of | | in the Ashmolean's pendant, forming a grotesque mask of |
| green enamel with stones set in the eyes and open mouth, | | green enamel with stones set in the eyes and open mouth, |
| was to be repeated more boldly in the Descent of Psyche | | was to be repeated more boldly in the Descent of Psyche |
| pendant, but there it has a symbolic meaning, suggesting | | pendant, but there it has a symbolic meaning, suggesting |
| Psyche's terrifying destination, whereas it has no such | | Psyche's terrifying destination, whereas it has no such |
| relationship with Mrs Hacon (one hopes). | | relationship with Mrs Hacon (one hopes). |
| AIl of Rickctts's jewellery was executed by, or rather with, | | AIl of Rickctts's jewellery was executed by, or rather with, |
| `Giuliani frercs', that is the workshop of Arthur Alphonse | | `Giuliani frercs', that is the workshop of Arthur Alphonse |
| Giuliano(c.1864-1914).ArthurwasthesonofcarloGiuliano | | Giuliano(c.1864-1914).ArthurwasthesonofcarloGiuliano |
| (c.183l-95), a Neapolitan by birth, who came to ljondon in | | (c.183l-95), a Neapolitan by birth, who came to ljondon in |
| about 1860, probably with the great Italian jcwellcr, | | about 1860, probably with the great Italian jcwellcr, |
| goldsmith, antiquarian, dcalcr, and couector Alessandro | | goldsmith, antiquarian, dcalcr, and couector Alessandro |
| Castellani who had been based in Paris, but is known to have | | Castellani who had been based in Paris, but is known to have |
| wanted to open premises in London in the early 1860s. | | wanted to open premises in London in the early 1860s. |
| Giuliano, who had certainly been an associate and probably | | Giuliano, who had certainly been an associate and probably |
| an cmployce of Casteuani, may have been proposed as the | | an cmployce of Casteuani, may have been proposed as the |
| I.ondon manager but hc set up independently with a | | I.ondon manager but hc set up independently with a |
| workshop in Frith Street and in 1874 opened his own shop | | workshop in Frith Street and in 1874 opened his own shop |
| at 115 Piccadilly. The business was inherited by his sons Carlo | | at 115 Piccadilly. The business was inherited by his sons Carlo |
| Joseph and Arthur Alphonse, but the former seems not to | | Joseph and Arthur Alphonse, but the former seems not to |
| have been active in it. Both Carlo and his son Arthur were | | have been active in it. Both Carlo and his son Arthur were |
| accomplished `revivalist' jewellers imitating, and on occasion | | accomplished `revivalist' jewellers imitating, and on occasion |
| rephcating, Egyptian, Etruscan, Greek, Gothic, RenaissaTce, | | rephcating, Egyptian, Etruscan, Greek, Gothic, RenaissaTce, |
| and Indian work. (G. C. Munn, C¢f££//¢„G. ¢„¢ G¢.#/¢.¢»¢ | | and Indian work. (G. C. Munn, C¢f££//¢„G. ¢„¢ G¢.#/¢.¢»¢ |
| ( Fribourg,1984), 47-75, especially 47-5 5 for an introduction | | ( Fribourg,1984), 47-75, especially 47-5 5 for an introduction |
| n | | n | @@PROCESS |
| 152 | | 152 |
| I | | I |
| to the Giuliani, 68-9 for the work of RIckctts, pls. 29-30, | | to the Giuliani, 68-9 for the work of RIckctts, pls. 29-30, |
| and captions on page 35 for this pendant.) | | and captions on page 35 for this pendant.) |
| For RIckctts and the Hacons see I. C. P. Delaney, C¢¢#JGJ | | For RIckctts and the Hacons see I. C. P. Delaney, C¢¢#JGJ |
| A;cfec#f (Oxford,1991), 95 and 140. | | A;cfec#f (Oxford,1991), 95 and 140. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Ijouis-Fran¢ois ROUBILIAC ( 1702 or 1705nd2) | | Ijouis-Fran¢ois ROUBILIAC ( 1702 or 1705nd2) |
| n | | n | @@PROCESS |
| 565. Modello for the monument to | | 565. Modello for the monument to |
| George Frideric Handel in | | George Frideric Handel in |
| Wesrfuster Abbey | | Wesrfuster Abbey |
| 98 cms. (height) | | 98 cms. (height) |
| Terracotta and plaster of Paris. The background is of terracotta | | Terracotta and plaster of Paris. The background is of terracotta |
| above the dado mouldings at the height of the figure's waist. There | | above the dado mouldings at the height of the figure's waist. There |
| arc several breaks in it all of which have been repaired. It is attached | | arc several breaks in it all of which have been repaired. It is attached |
| by plaster to a slab of slate to which the lower portion of the | | by plaster to a slab of slate to which the lower portion of the |
| background, which is of wood and plaster, is also fixed. The plaster | | background, which is of wood and plaster, is also fixed. The plaster |
| has been coloured to match the terracotta. The figure with papers, | | has been coloured to match the terracotta. The figure with papers, |
| table, draperies, and horn are of terracotta, hollowed out to some | | table, draperies, and horn are of terracotta, hollowed out to some |
| extent behind. There are also several holes in the rear, one of which | | extent behind. There are also several holes in the rear, one of which |
| pierces the model entirely between the figure's legs. The figure | | pierces the model entirely between the figure's legs. The figure |
| appears to have been given a plaster base, coloured to match the | | appears to have been given a plaster base, coloured to match the |
| clay, but it is possible that this base is of terracotta extensively | | clay, but it is possible that this base is of terracotta extensively |
| reinforced with plaster. There are several obvious repair lines: on | | reinforced with plaster. There are several obvious repair lines: on |
| the horn, and at the top of the sheet music, for example. One corner | | the horn, and at the top of the sheet music, for example. One corner |
| of the sheet music has been made up with plaster as has a large | | of the sheet music has been made up with plaster as has a large |
| pordon of the first fold of the coat to proper right. After examination | | pordon of the first fold of the coat to proper right. After examination |
| by X-ray and binocular microscope at the Victoria and Albert | | by X-ray and binocular microscope at the Victoria and Albert |
| Museum in 1984 a report was submitted to the Keeper (in the form | | Museum in 1984 a report was submitted to the Keeper (in the form |
| of a letter from Malcolm Baker dated 23 October) suggesting that | | of a letter from Malcolm Baker dated 23 October) suggesting that |
| the surface was at one time covered in white paint. The report also | | the surface was at one time covered in white paint. The report also |
| pointed out that the compo§er's right arm was modelled separately | | pointed out that the compo§er's right arm was modelled separately |
| a.nd inscrtcd into the sleeve. This is in fact evident without artificial | | a.nd inscrtcd into the sleeve. This is in fact evident without artificial |
| aids, for the arm is modelled entirely in the round and yet placed | | aids, for the arm is modelled entirely in the round and yet placed |
| only a halr's breadth from the body. Examination with the naked | | only a halr's breadth from the body. Examination with the naked |
| eye also reveals that the lower part of the composer's left leg was | | eye also reveals that the lower part of the composer's left leg was |
| separately modelled. The portion of the cloak which has been made | | separately modelled. The portion of the cloak which has been made |
| up with plaster was loosened during the examination of the work | | up with plaster was loosened during the examination of the work |
| in October 1984 and subsequently reattached. | | in October 1984 and subsequently reattached. |
| Given by James Wyatt in 1848 to the University Gallery (Donations | | Given by James Wyatt in 1848 to the University Gallery (Donations |
| Book, p.11). Mr. Wyatt was an art dealer, print publisher, fromc | | Book, p.11). Mr. Wyatt was an art dealer, print publisher, fromc |
| maker, and picture restorer in Oxford's High Street whose firm had | | maker, and picture restorer in Oxford's High Street whose firm had |
| many close associations with the University Galleries in its early | | many close associations with the University Galleries in its early |
| years. See also No. 542. The owode//a sccms to have been placed on | | years. See also No. 542. The owode//a sccms to have been placed on |
| a pedestal vcncered with pG#de ¢„f¢.co ( green and grey-green brcccia). | | a pedestal vcncered with pG#de ¢„f¢.co ( green and grey-green brcccia). |
| In more recent years it has been supported on a pedestal of wood | | In more recent years it has been supported on a pedestal of wood |
| covered with the blue brocade of the walls of the Chambers Hall | | covered with the blue brocade of the walls of the Chambers Hall |
| Gallery in which it is placed. The H¢„d4oofe G#¢.def rcvcal that it | | Gallery in which it is placed. The H¢„d4oofe G#¢.def rcvcal that it |
| was in the Fortnum Room in 1909 and the Raffaello Room in | | was in the Fortnum Room in 1909 and the Raffaello Room in |
| 1931, and photographs show it in the Hill Music Room in the | | 1931, and photographs show it in the Hill Music Room in the |
| 1950s. The pe7rfe ¢"f¢.co would have matched the Music Room | | 1950s. The pe7rfe ¢"f¢.co would have matched the Music Room |
| skirting. | | skirting. |
| Roubiliac's famous monument to Handel in Wcstminstcr | | Roubiliac's famous monument to Handel in Wcstminstcr |
| Abbey was commissioned with the £600 which the composer | | Abbey was commissioned with the £600 which the composer |
| left for this purpose in his will. A fee was paid to the Abbey | | left for this purpose in his will. A fee was paid to the Abbey |
| in 1759, the year of the composer's death, and the monument | | in 1759, the year of the composer's death, and the monument |
| was unveiled on 10 July 1762 according to the GG"£/Gow¢7?'f | | was unveiled on 10 July 1762 according to the GG"£/Gow¢7?'f |
| A44[g¢zG.#G, 32: 340. The Ashmolean model differs in few | | A44[g¢zG.#G, 32: 340. The Ashmolean model differs in few |
| details from the marble. In the latter the composer's irises are | | details from the marble. In the latter the composer's irises are |
| unmarkcd and, since his index finger has been broken off, | | unmarkcd and, since his index finger has been broken off, |
| wc cannot be certain that it pointed to heaven. Also in the | | wc cannot be certain that it pointed to heaven. Also in the |
| marble the lower sheet is chiscued with the word `MESSIAH' | | marble the lower sheet is chiscued with the word `MESSIAH' |
| and the higher with `Larghetto / I know that my Redeemer | | and the higher with `Larghetto / I know that my Redeemer |
| liveth / and that He sham stand / . . . at the last . . .' | | liveth / and that He sham stand / . . . at the last . . .' |
| There is a smaller terracotta model (35.7 cms. in height) | | There is a smaller terracotta model (35.7 cms. in height) |
| said to have been found in recent ycar§ in a Bristol antique | | said to have been found in recent ycar§ in a Bristol antique |
| shop and subsequently sold to `thc Gerald Coke Handel | | shop and subsequently sold to `thc Gerald Coke Handel |
| Collection' ( reproduced in colour in the catalogue of the | | Collection' ( reproduced in colour in the catalogue of the |
| c;xhilkjlfi urn Rococo: An and Design in Hogarth's England | | c;xhilkjlfi urn Rococo: An and Design in Hogarth's England |
| (Victoria and Albert Museum, 16 May-30 Sept. 1984), | | (Victoria and Albert Museum, 16 May-30 Sept. 1984), |
| pl. XXVI). In this smaller version the angel is placed nearer | | pl. XXVI). In this smaller version the angel is placed nearer |
| to the composer, the feet seeming to touch his head which | | to the composer, the feet seeming to touch his head which |
| is here covered with a nightcap; the composer does not look | | is here covered with a nightcap; the composer does not look |
| up as if rapt by the angelic harping, but vacantly out to his | | up as if rapt by the angelic harping, but vacantly out to his |
| left; he has his right hand on the further edge of his score and | | left; he has his right hand on the further edge of his score and |
| his left also on it at the top left-hand corner. Some passages | | his left also on it at the top left-hand corner. Some passages |
| of modelling-most notably the draperies and legs of the | | of modelling-most notably the draperies and legs of the |
| harpist-rc lively but perfunctory, the hands, being | | harpist-rc lively but perfunctory, the hands, being |
| summary, look feeble, and the unbroken fall of the composer's | | summary, look feeble, and the unbroken fall of the composer's |
| cloak is heavy and dull. The handling, however, with its dabs | | cloak is heavy and dull. The handling, however, with its dabs |
| and pokes, is quite close to that of the model for the | | and pokes, is quite close to that of the model for the |
| monument to John, 2nd duke of Montagu (Vlctoria and | | monument to John, 2nd duke of Montagu (Vlctoria and |
| Albcrt Museum, A.6-1947). | | Albcrt Museum, A.6-1947). |
| The working of the clay in the Ashmolean model is unusual | | The working of the clay in the Ashmolean model is unusual |
| for its careful finish and most unusual on account of the | | for its careful finish and most unusual on account of the |
| modelling and the texture of the composcr's hands and face | | modelling and the texture of the composcr's hands and face |
| which make them more refined and more vital than anything | | which make them more refined and more vital than anything |
| in any surviving small terracotta by the sculptor. The texture | | in any surviving small terracotta by the sculptor. The texture |
| is achicvcd by hatching with a fine tool in the clay when it | | is achicvcd by hatching with a fine tool in the clay when it |
| was leather-hard. This is also found in the high-relief bust | | was leather-hard. This is also found in the high-relief bust |
| portrait of Ohvcr Cromweu in the Royal Ontario Museum, | | portrait of Ohvcr Cromweu in the Royal Ontario Museum, |
| Toronto (959.492), but not, for example, in the face of | | Toronto (959.492), but not, for example, in the face of |
| Handel in the model for his statue in Vauxhan Gardens | | Handel in the model for his statue in Vauxhan Gardens |
| (Fitzwillian Museum, M3-1922). It is more typical of | | (Fitzwillian Museum, M3-1922). It is more typical of |
| Rysbrack's work on this scale (the face of Newton in the | | Rysbrack's work on this scale (the face of Newton in the |
| model for his monument is a striking example-Victoria and | | model for his monument is a striking example-Victoria and |
| Albert Museum, A.I-1938). The handling of the raised hand | | Albert Museum, A.I-1938). The handling of the raised hand |
| especially may be compared with that in some sculpture by | | especially may be compared with that in some sculpture by |
| Jean-Baptiste Lemoyne, such as the terracotta bust of | | Jean-Baptiste Lemoyne, such as the terracotta bust of |
| Fontenene in the Mus6e des Beaux-Arts, Lyon ( 1974-4). | | Fontenene in the Mus6e des Beaux-Arts, Lyon ( 1974-4). |
| There were four `designs' for `Mr. Handell' in lot 70 on | | There were four `designs' for `Mr. Handell' in lot 70 on |
| the second day of Roubihac's studio sale at I.angford's, | | the second day of Roubihac's studio sale at I.angford's, |
| I.ondon, 13 May 1762, and these might well have bccn | | I.ondon, 13 May 1762, and these might well have bccn |
| terracotta sketches and have included this piece. | | terracotta sketches and have included this piece. |
| Although catalogued in the Rococo exhibition (cited above, | | Although catalogued in the Rococo exhibition (cited above, |
| no. S 46, p. 307) as `attributed to Roubiliac', the compiler | | no. S 46, p. 307) as `attributed to Roubiliac', the compiler |
| has since informed me that he has no doubts concerning its | | has since informed me that he has no doubts concerning its |
| status. Its technique is certainly peculiar: but the combination | | status. Its technique is certainly peculiar: but the combination |
| of plaster and terracotta, whilst in part due to restoration, is | | of plaster and terracotta, whilst in part due to restoration, is |
| certainly also in part origival and is characteristic of Roubiliac, | | certainly also in part origival and is characteristic of Roubiliac, |
| as may be seen, for instance, from the way a plaster socle is | | as may be seen, for instance, from the way a plaster socle is |
| attached to his terracotta bust of Hogarth in the National | | attached to his terracotta bust of Hogarth in the National |
| Portrait Gallery. | | Portrait Gallery. |
| A sample was taken from the terracotta by Mrs Doreen | | A sample was taken from the terracotta by Mrs Doreen |
| Stoneham of the Oxford Research I.aboratory for | | Stoneham of the Oxford Research I.aboratory for |
| Archaeology and the History of Art in March 1987 and | | Archaeology and the History of Art in March 1987 and |
| thermo-luminescence tests suggcstcd a date between 1767 | | thermo-luminescence tests suggcstcd a date between 1767 |
| and 1847 (ref. 48l-a-30). If this result is trusted then the | | and 1847 (ref. 48l-a-30). If this result is trusted then the |
| possibility of the model being made after the marble was | | possibility of the model being made after the marble was |
| completed should bc considered. | | completed should bc considered. |
| n | | n | @@PROCESS |
| 153 | | 153 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| | | @@PROCESS |
| 154 | | 154 |
| John Michael RYSBRACK ( 1694-1770) | | John Michael RYSBRACK ( 1694-1770) |
| n | | n | @@PROCESS |
| 566. Bust portrait of John | | 566. Bust portrait of John |
| Churchill, lst duke of Marlborough | | Churchill, lst duke of Marlborough |
| 63.3 cms. (height of bust excluding pedestal); 59 cms. (width of | | 63.3 cms. (height of bust excluding pedestal); 59 cms. (width of |
| bust); 28.8 cms. (height of pedestal); 35.5 cms. (length of | | bust); 28.8 cms. (height of pedestal); 35.5 cms. (length of |
| pedestal); 25.6 cms. (width of pedestal); 116.4 cms. (height of | | pedestal); 25.6 cms. (width of pedestal); 116.4 cms. (height of |
| sub-pedestal); 37.2 cms. (length of sub-pedestal); 25.6 cms. | | sub-pedestal); 37.2 cms. (length of sub-pedestal); 25.6 cms. |
| (width of sub-pedestal) | | (width of sub-pedestal) |
| White Carrara marble considerably discoloured. Small chips have | | White Carrara marble considerably discoloured. Small chips have |
| been lost from one of the leaves in the hair and from the uppemost | | been lost from one of the leaves in the hair and from the uppemost |
| fold of drapery at the front of the chest. On the base of the bust at | | fold of drapery at the front of the chest. On the base of the bust at |
| t:he rear are traces of black letters spelling: `|oHN DUKE | | t:he rear are traces of black letters spelling: `|oHN DUKE |
| oF/ MARLBORoUGH'. On the front of the pedestal a I.atin text is | | oF/ MARLBORoUGH'. On the front of the pedestal a I.atin text is |
| chiselled which is translated behind: `Princc of the Roman Empire | | chiselled which is translated behind: `Princc of the Roman Empire |
| 8cc / The Rescuer of the hibcrtics of ENGIAND and | | 8cc / The Rescuer of the hibcrtics of ENGIAND and |
| HOLIAND / when in the most Imminent Danger. / The Subduer | | HOLIAND / when in the most Imminent Danger. / The Subduer |
| and Scourge / of FRANCE when in its / Height of Power. / The | | and Scourge / of FRANCE when in its / Height of Power. / The |
| Deliverer and Protector / of GERMANy / when at the Point of | | Deliverer and Protector / of GERMANy / when at the Point of |
| Ruin. /Who through the whole course / Of a Ten Years Vigorous | | Ruin. /Who through the whole course / Of a Ten Years Vigorous |
| WAR, / In Repeated Attacks / Upon the Enemies Armies, and | | WAR, / In Repeated Attacks / Upon the Enemies Armies, and |
| continual / Assaults Upon their Strong Towns, / Never once fulcd | | continual / Assaults Upon their Strong Towns, / Never once fulcd |
| of success.' Below this on the plinth of the pedestal is the | | of success.' Below this on the plinth of the pedestal is the |
| supplementary infomation (not in I.atin on the front): `Battles | | supplementary infomation (not in I.atin on the front): `Battles |
| gained .... 5 / Strong Towns that Surrendered without Siege | | gained .... 5 / Strong Towns that Surrendered without Siege |
| 16 / Strong Towns besieged and taken . . . 24'. The equivalent area | | 16 / Strong Towns besieged and taken . . . 24'. The equivalent area |
| of the front of the plinth is chiselled with the words: `Illustrissima | | of the front of the plinth is chiselled with the words: `Illustrissima |
| Vidua, Digna tali Tantoq Viro / D:D: Academiae Oxoniensi A:D: | | Vidua, Digna tali Tantoq Viro / D:D: Academiae Oxoniensi A:D: |
| MDCCXXX.' The English translation is also inscribed on a white | | MDCCXXX.' The English translation is also inscribed on a white |
| marble tablet set in a mottled grey marble surround in the Museum | | marble tablet set in a mottled grey marble surround in the Museum |
| store. This presumably once served as a base. | | store. This presumably once served as a base. |
| - Flffifu | | - Flffifu |
| Prcscnted by Sarah, duchess of Marlborough, to the Bodleian hibrary | | Prcscnted by Sarah, duchess of Marlborough, to the Bodleian hibrary |
| in 1730. Transferred to the Ashmolcan Museum in 1926 (A»»"a/ | | in 1730. Transferred to the Ashmolcan Museum in 1926 (A»»"a/ |
| Rcporf, 24) together with the bust of Gladstonc by Woolner | | Rcporf, 24) together with the bust of Gladstonc by Woolner |
| (No. 597). By the mid-1950s the bust was displayed together with | | (No. 597). By the mid-1950s the bust was displayed together with |
| Nos. 558 and 559. | | Nos. 558 and 559. |
| There are, as Margaret Webb pointed out (A4¢.choc/ ftyy4r¢cfe | | There are, as Margaret Webb pointed out (A4¢.choc/ ftyy4r¢cfe |
| Sc"/Pfo7 (Ilondon,1954), 95), two busts of the duke of | | Sc"/Pfo7 (Ilondon,1954), 95), two busts of the duke of |
| Marlborough by Rysbrack, one in contemporary armour and | | Marlborough by Rysbrack, one in contemporary armour and |
| a long wig (Blenhcim Palace), and the other wearing a wreath, | | a long wig (Blenhcim Palace), and the other wearing a wreath, |
| antique armour with a lion's mark on his right shoulder, and | | antique armour with a lion's mark on his right shoulder, and |
| a cloak adorned with a Garter Star. The Ashmolcan bust is | | a cloak adorned with a Garter Star. The Ashmolcan bust is |
| an example of the second type of which other examples are | | an example of the second type of which other examples are |
| recorded by Webb at Syon House, Wimbornc St Giles, and | | recorded by Webb at Syon House, Wimbornc St Giles, and |
| the National Portrait Gallery (2005, transferred from the | | the National Portrait Gallery (2005, transferred from the |
| British Museum in 1923). It seems never to have been | | British Museum in 1923). It seems never to have been |
| observed in print that this second type is not in fact an | | observed in print that this second type is not in fact an |
| independent invention by the artist but an abbrcviation-hcncc | | independent invention by the artist but an abbrcviation-hcncc |
| the unhappy cutting of the Garter Star-of the | | the unhappy cutting of the Garter Star-of the |
| sculptor's full-length effigy of the duke made for the tomb | | sculptor's full-length effigy of the duke made for the tomb |
| in the chapel at Blenhcim. The angle at which the effigy has, | | in the chapel at Blenhcim. The angle at which the effigy has, |
| inevitably, been photographed militates against recognition of | | inevitably, been photographed militates against recognition of |
| this. Since the Ashmolean's version of the bust was presented | | this. Since the Ashmolean's version of the bust was presented |
| to the Bodleian in 1730 that establishes a date for completion | | to the Bodleian in 1730 that establishes a date for completion |
| of Rysbrack's effigy at least as a model. The marble effigy was | | of Rysbrack's effigy at least as a model. The marble effigy was |
| presumably among the `figures', `trophies', and `medals' | | presumably among the `figures', `trophies', and `medals' |
| described by the duchess as `ready to set up' in the chapel in | | described by the duchess as `ready to set up' in the chapel in |
| May 1732 (ibid. 93). | | May 1732 (ibid. 93). |
| n | | n | @@PROCESS |
| 155 | | 155 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry or workshop of L. Gcnneau (probably Paris) | | Foundry or workshop of L. Gcnneau (probably Paris) |
| After John Michael RYSBRACK ( 1694-1770) | | After John Michael RYSBRACK ( 1694-1770) |
| n | | n | @@PROCESS |
| 567. Statuette of Sir Peter Paul | | 567. Statuette of Sir Peter Paul |
| Rubens | | Rubens |
| 61,8 cms, (height including integral plinth); 2.9 cms. (height of | | 61,8 cms, (height including integral plinth); 2.9 cms. (height of |
| plinth); 22.2 cms. (length of plinth); 19.4 cms. (width of plinth); | | plinth); 22.2 cms. (length of plinth); 19.4 cms. (width of plinth); |
| 26.5 cms. (length of plinth) | | 26.5 cms. (length of plinth) |
| Bronze with a dark brown patina won to olive green-brown on the | | Bronze with a dark brown patina won to olive green-brown on the |
| plinth and on the figure's right hand, nose, and forehead. The | | plinth and on the figure's right hand, nose, and forehead. The |
| brown patina has traces of a ruddy gold when well lit. Hollow, sand-cast, | | brown patina has traces of a ruddy gold when well lit. Hollow, sand-cast, |
| in several pieces. The base together with the draped pedestal | | in several pieces. The base together with the draped pedestal |
| behind the figure forms one unit and the upper half of the figure is | | behind the figure forms one unit and the upper half of the figure is |
| bolted and soldered to this. The figure's right arm and left hand | | bolted and soldered to this. The figure's right arm and left hand |
| are also separately cast. The surface is very meticulously tooled and | | are also separately cast. The surface is very meticulously tooled and |
| all the drapery is finely and freely cross-hatched. `D. pETRvS. PAVLVS. | | all the drapery is finely and freely cross-hatched. `D. pETRvS. PAVLVS. |
| RVBBENS. EQVES' is chiselled across the back of the plinth of the | | RVBBENS. EQVES' is chiselled across the back of the plinth of the |
| pedestal, `Petro Pauol Rubens' in imitation of the artist's own | | pedestal, `Petro Pauol Rubens' in imitation of the artist's own |
| signature in Italian is chiselled across the back of the plinth below | | signature in Italian is chiselled across the back of the plinth below |
| this, and `Michel Rycbrack [J;c] / 1632' with a line below the date | | this, and `Michel Rycbrack [J;c] / 1632' with a line below the date |
| is chiselled on the side of the plinth of the pedestal. There is an | | is chiselled on the side of the plinth of the pedestal. There is an |
| indecipherable flourish at the end of `Pauol' in the artist's signature. | | indecipherable flourish at the end of `Pauol' in the artist's signature. |
| Bought in 1963. Redstered on 25 October with the name of the | | Bought in 1963. Redstered on 25 October with the name of the |
| vendor left blank. | | vendor left blank. |
| Vcrtue informs us that the success of Peter Schecmakers's | | Vcrtue informs us that the success of Peter Schecmakers's |
| monument to Shakespeare in Westminster Abbey led to a | | monument to Shakespeare in Westminster Abbey led to a |
| decline in Rysbrack's business as a sculptor. We may speculate | | decline in Rysbrack's business as a sculptor. We may speculate |
| that the success of Roubiliac may also have caused this. In | | that the success of Roubiliac may also have caused this. In |
| his new-found leisure, surely recalling a commission, reccivcd | | his new-found leisure, surely recalling a commission, reccivcd |
| from Lord Burlington in the 1720s, for portraits of Inigo | | from Lord Burlington in the 1720s, for portraits of Inigo |
| Jones and Palladio, and perhaps also influenced by the fact | | Jones and Palladio, and perhaps also influenced by the fact |
| that his rival Scheemakers had made such a hit with a figure | | that his rival Scheemakers had made such a hit with a figure |
| in historical dress, and also newly alert to his alien status (not | | in historical dress, and also newly alert to his alien status (not |
| a compatriot of Shakespeare ), Rysbrack made `three moddels | | a compatriot of Shakespeare ), Rysbrack made `three moddels |
| in clay, being the representations of 3 most excellent Artists | | in clay, being the representations of 3 most excellent Artists |
| (about 2 foot hi each figure) Rubens. Vandyke & Fiamingo | | (about 2 foot hi each figure) Rubens. Vandyke & Fiamingo |
| Quenoy [i.e. Duquesnoy] all thrcc his Country men'. Vertuc | | Quenoy [i.e. Duquesnoy] all thrcc his Country men'. Vertuc |
| enormously admired them ( `Notebooks', iri, W¢/fJo/e SocG.rty, | | enormously admired them ( `Notebooks', iri, W¢/fJo/e SocG.rty, |
| 22 ( 19334),116). That was in 1743 and in the following | | 22 ( 19334),116). That was in 1743 and in the following |
| year, on 4 January in the D¢¢./y Adrcr}¢.fc7r, Joseph Van Aken, | | year, on 4 January in the D¢¢./y Adrcr}¢.fc7r, Joseph Van Aken, |
| the drapery painter, solicited subscriptions for an edition of | | the drapery painter, solicited subscriptions for an edition of |
| the three figures in plaster of Paris (asking 7± guineas for the | | the three figures in plaster of Paris (asking 7± guineas for the |
| set). The models could be viewed and orders placed in | | set). The models could be viewed and orders placed in |
| Rysbrack's studio, so it is reasonable to suppose that the | | Rysbrack's studio, so it is reasonable to suppose that the |
| sculptor retained an interest in the venture. Nine monochrome | | sculptor retained an interest in the venture. Nine monochrome |
| off paintings of the three figures by William Grecne the | | off paintings of the three figures by William Grecne the |
| younger may have served as part of the promotion of this | | younger may have served as part of the promotion of this |
| `publication', as is suggested by Katharine Eustace ( M¢.choc/ | | `publication', as is suggested by Katharine Eustace ( M¢.choc/ |
| Ryr4"¢cfe (City of Bristol Museum and All Gallery, 1982), | | Ryr4"¢cfe (City of Bristol Museum and All Gallery, 1982), |
| 13844). She also notes that it seems to have been after Van | | 13844). She also notes that it seems to have been after Van |
| Akcn's death in 1749 that John Checre took up the | | Akcn's death in 1749 that John Checre took up the |
| production of plasters. The origival models of Rubens and | | production of plasters. The origival models of Rubens and |
| Van Dyck were lots 73 and 74 of the studio sale of `Joseph | | Van Dyck were lots 73 and 74 of the studio sale of `Joseph |
| Vinhaccken . . . drapery paintcr' at Langford's, Ijondon,11 | | Vinhaccken . . . drapery paintcr' at Langford's, Ijondon,11 |
| February 1750/1, together with many plaster casts. Cheere | | February 1750/1, together with many plaster casts. Cheere |
| n | | n | @@PROCESS |
| 156 | | 156 |
| was not the only supplier of plaster casts. Some appear for | | was not the only supplier of plaster casts. Some appear for |
| sale with their brackets in the `stock in trade of Mr Atkinson | | sale with their brackets in the `stock in trade of Mr Atkinson |
| of picadilly lately dcceased' auctioned by Burnsall, London, | | of picadilly lately dcceased' auctioned by Burnsall, London, |
| on 2 April 1767. Some were also sold, at 2 guineas each, by | | on 2 April 1767. Some were also sold, at 2 guineas each, by |
| Charles Harris, sometime before 1795 and there are examples | | Charles Harris, sometime before 1795 and there are examples |
| in press-moulded terracotta, stoneware, and ivory. But there | | in press-moulded terracotta, stoneware, and ivory. But there |
| arc no bronze reproductions which can certainly be dated to | | arc no bronze reproductions which can certainly be dated to |
| the cightecnth century although Chcere's plasters were given | | the cightecnth century although Chcere's plasters were given |
| a bronze colouring. Rysbrack also made marble busts from | | a bronze colouring. Rysbrack also made marble busts from |
| the three figures in 1746. | | the three figures in 1746. |
| The claim made by Ian Robertson in the A"„"a/ RGPo7¢ | | The claim made by Ian Robertson in the A"„"a/ RGPo7¢ |
| for 1963 (p. 53) that this bronze version of Rysbrack's R#Z7e»J | | for 1963 (p. 53) that this bronze version of Rysbrack's R#Z7e»J |
| statuette is actually `the work of ' Rysbrack seems highly | | statuette is actually `the work of ' Rysbrack seems highly |
| optimistic. The chiselled letters of his mme copy laboriously | | optimistic. The chiselled letters of his mme copy laboriously |
| those incised in clay by the artist. A contemporary craftsman | | those incised in clay by the artist. A contemporary craftsman |
| might have been responsible for this, although chiselled | | might have been responsible for this, although chiselled |
| imitations of cursive script are not usual before the last century. | | imitations of cursive script are not usual before the last century. |
| But if it was done by a contemporary they would surely not | | But if it was done by a contemporary they would surely not |
| have mistaken the `s' in Rysbrack for a `c'. The best explanation | | have mistaken the `s' in Rysbrack for a `c'. The best explanation |
| for this mistake is that the bronze worker had a slightly | | for this mistake is that the bronze worker had a slightly |
| defective or blurred cast as his source and had no idea who | | defective or blurred cast as his source and had no idea who |
| Rysbrack was. This would also explain the absence of a proper | | Rysbrack was. This would also explain the absence of a proper |
| hilt or sheath for the sword in the bronze statucttc for these | | hilt or sheath for the sword in the bronze statucttc for these |
| are likely to have been missing in a poor cast. This theory | | are likely to have been missing in a poor cast. This theory |
| also makes sense of the date 1632 below the signature. The | | also makes sense of the date 1632 below the signature. The |
| bronze worker who had not heard of Rysbrack may well have | | bronze worker who had not heard of Rysbrack may well have |
| supposed that hc was a contemporary of Rubens and that the | | supposed that hc was a contemporary of Rubens and that the |
| portrait was made from life; he would in that case have hit | | portrait was made from life; he would in that case have hit |
| on a seventeenth-century date for the work (had he given | | on a seventeenth-century date for the work (had he given |
| much thought to the matter, however, he might have chosen | | much thought to the matter, however, he might have chosen |
| an earlier one since Rubens was 55 years old in 1632 and | | an earlier one since Rubens was 55 years old in 1632 and |
| looks younger here). The other inscriptions on the bronze | | looks younger here). The other inscriptions on the bronze |
| are imitations of Rubens's own signature as he signed his own | | are imitations of Rubens's own signature as he signed his own |
| letters and paintings. The idea of recording the handwriting | | letters and paintings. The idea of recording the handwriting |
| with the likeness of a sitter seems to have origivatcd in the | | with the likeness of a sitter seems to have origivatcd in the |
| early nineteenth century-the medallions of great men by | | early nineteenth century-the medallions of great men by |
| David D'Angers testify to an enthusiasm for graphology, then | | David D'Angers testify to an enthusiasm for graphology, then |
| a new and exciting scicncc. | | a new and exciting scicncc. |
| There is, then, reason to suspect that this bronze is a | | There is, then, reason to suspect that this bronze is a |
| nineteenth-century cast and this is strongly supported by its | | nineteenth-century cast and this is strongly supported by its |
| composite, sand-cast, structure typical of Parisian nincteenth-century | | composite, sand-cast, structure typical of Parisian nincteenth-century |
| foundries. There is another version of the bronze on | | foundries. There is another version of the bronze on |
| deposit with the sculpture department at Sotheby's in Bond | | deposit with the sculpture department at Sotheby's in Bond |
| Street which is identical except that it is signed `Miche | | Street which is identical except that it is signed `Miche |
| Rybsrack [f¢.c] / 1743' and has the latinate and capitalized, | | Rybsrack [f¢.c] / 1743' and has the latinate and capitalized, |
| but not the Italianate cursive, version of Rubens's name. A | | but not the Italianate cursive, version of Rubens's name. A |
| version is also in the Victoria and Albert Museum, paired with | | version is also in the Victoria and Albert Museum, paired with |
| one after Rysbrack's Van Dyck (A. 24 and A. 23-1955). | | one after Rysbrack's Van Dyck (A. 24 and A. 23-1955). |
| Rysbrack's signature in this case is also `Miche' as in the | | Rysbrack's signature in this case is also `Miche' as in the |
| Sotheby's version but `L. GENNEAU' is chiselled together with | | Sotheby's version but `L. GENNEAU' is chiselled together with |
| the I.atinate capitalized name behind. A note of 1977 in the | | the I.atinate capitalized name behind. A note of 1977 in the |
| Victoria and Albert Muscum's files records another pair in | | Victoria and Albert Muscum's files records another pair in |
| the Bcaverbrook Art Gallery, Fredericton, New Brunswick, | | the Bcaverbrook Art Gallery, Fredericton, New Brunswick, |
| Canada, marked `Soci6te des Bronzes'. Genneau is not | | Canada, marked `Soci6te des Bronzes'. Genneau is not |
| otherwise known to us, either as a c¢.Jc/e#7 or a founder, but | | otherwise known to us, either as a c¢.Jc/e#7 or a founder, but |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| it is a French or BelSan name and the Soci6t6 dcs Bronzes | | it is a French or BelSan name and the Soci6t6 dcs Bronzes |
| was presumably a French or Belgian firm. | | was presumably a French or Belgian firm. |
| It is not hard to understand why Rysbrack's statuettes | | It is not hard to understand why Rysbrack's statuettes |
| should have been reproduced in bronze in France in the | | should have been reproduced in bronze in France in the |
| second half (I would suspect in the last quarter) of the last | | second half (I would suspect in the last quarter) of the last |
| century. Albert Ernest Carrier-Bellcuse's statuettes of raphael | | century. Albert Ernest Carrier-Bellcuse's statuettes of raphael |
| and Michelangelo were cast by Deniere in 1855 (a dated pair | | and Michelangelo were cast by Deniere in 1855 (a dated pair |
| are in the Ijouvre). He followed these with Leonardo, Cclhi, | | are in the Ijouvre). He followed these with Leonardo, Cclhi, |
| Murillo, Velazquez, also standing, and a seated Dtirer-this | | Murillo, Velazquez, also standing, and a seated Dtirer-this |
| last incorporating an imitation of the artist's signature (an | | last incorporating an imitation of the artist's signature (an |
| example was lot 81, Sotheby's, London, 4-7 November | | example was lot 81, Sotheby's, London, 4-7 November |
| 1988). Other sculptors and founders saw their opportunity: | | 1988). Other sculptors and founders saw their opportunity: |
| Jean Jacques Feuchere's models of I'alissy and Cellini were | | Jean Jacques Feuchere's models of I'alissy and Cellini were |
| cast by E. de I,abrouc; Genneau would seem to have exploited | | cast by E. de I,abrouc; Genneau would seem to have exploited |
| the models already made in England. There is a possibhity | | the models already made in England. There is a possibhity |
| also that knowledge of Rysbrack's initiative of the mid-eighteenth | | also that knowledge of Rysbrack's initiative of the mid-eighteenth |
| century stimulated that of Carrier-Bclleuse a | | century stimulated that of Carrier-Bclleuse a |
| hundred years later, especiany since in 1855, the date of the | | hundred years later, especiany since in 1855, the date of the |
| Raphael and Michelangelo, he had just returned to France | | Raphael and Michelangelo, he had just returned to France |
| having spent five years working as a modeller for Minton's | | having spent five years working as a modeller for Minton's |
| factory in Stoke-on-Trent. | | factory in Stoke-on-Trent. |
| n | | n | @@PROCESS |
| 157 | | 157 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Perhaps John Michael RYSBRACK ( 1694-1770) | | Perhaps John Michael RYSBRACK ( 1694-1770) |
| n | | n | @@PROCESS |
| 568. Portrait bust of an unknown | | 568. Portrait bust of an unknown |
| lady | | lady |
| 60.6 cms. (height including socle); 14.5 cms. (height of socle) | | 60.6 cms. (height including socle); 14.5 cms. (height of socle) |
| Lead. Hollow cast with thick walls. The surface has been dented in | | Lead. Hollow cast with thick walls. The surface has been dented in |
| several places most conspicuously in the centre of the forehead. | | several places most conspicuously in the centre of the forehead. |
| There are also numerous scratches including deep ones on the upper | | There are also numerous scratches including deep ones on the upper |
| chest, the proper right cheek, and across the chin. There is a crack | | chest, the proper right cheek, and across the chin. There is a crack |
| in the cast across the foremost and lowest fold of the drapery. The | | in the cast across the foremost and lowest fold of the drapery. The |
| lead has clearly been tooled after casting-the sharp lines of the | | lead has clearly been tooled after casting-the sharp lines of the |
| front curls of the hair and of the eyebrows are particularly indicative | | front curls of the hair and of the eyebrows are particularly indicative |
| of this (see also below). There are traces of a white deposit in some | | of this (see also below). There are traces of a white deposit in some |
| of the hollows, perhaps suggesting that the bust was originally | | of the hollows, perhaps suggesting that the bust was originally |
| painted. The interior of the bust has been filled with mastic and the | | painted. The interior of the bust has been filled with mastic and the |
| bust has been mounted on a turned and waisted serpentine soclc | | bust has been mounted on a turned and waisted serpentine soclc |
| (certainly not origival). | | (certainly not origival). |
| Bought in 1933. From the dealer `Marcussen' according to the entry | | Bought in 1933. From the dealer `Marcussen' according to the entry |
| in the University Gallery Benefactions Book perhaps at the same | | in the University Gallery Benefactions Book perhaps at the same |
| time as No. 401. | | time as No. 401. |
| The bust was described by the Keeper, Kenneth Clark, in the | | The bust was described by the Keeper, Kenneth Clark, in the |
| A""#¢/ Rcpo# ( 1933: 25) as in the `style of Rysbrack' and | | A""#¢/ Rcpo# ( 1933: 25) as in the `style of Rysbrack' and |
| this seems just. It is certainly a fine work of this period. An | | this seems just. It is certainly a fine work of this period. An |
| idiosyncraticfeatureisthescalloped,almostpetal-ukecharacter | | idiosyncraticfeatureisthescalloped,almostpetal-ukecharacter |
| of the undergarment and this may be compared with the | | of the undergarment and this may be compared with the |
| treatment of the drapery in Rysbrack's bust of I.ady Margaret | | treatment of the drapery in Rysbrack's bust of I.ady Margaret |
| Cavendish-Holles-Harley dated 1723 (at Welbeck Abbey, | | Cavendish-Holles-Harley dated 1723 (at Welbeck Abbey, |
| Nottinghamshire, reproduced as pl. 35 in M.I. Webb, | | Nottinghamshire, reproduced as pl. 35 in M.I. Webb, |
| A4¢.c¢¢e/ ftysb"¢c4 Sc#/Pfo7 (London, 1954) ). The hair has | | A4¢.c¢¢e/ ftysb"¢c4 Sc#/Pfo7 (London, 1954) ). The hair has |
| been given a granulated texture with a punch after casting | | been given a granulated texture with a punch after casting |
| and lines chisellcd on top of this. Exactly the same technique | | and lines chisellcd on top of this. Exactly the same technique |
| may be observed in Henry Cheere's superb lead bust of the | | may be observed in Henry Cheere's superb lead bust of the |
| duke of Cunberland at Belton House (bought 1747, | | duke of Cunberland at Belton House (bought 1747, |
| Bel/M/44), but it need not have been special to Cheere. | | Bel/M/44), but it need not have been special to Cheere. |
| The bust has been very carefully and tactfully restored, | | The bust has been very carefully and tactfully restored, |
| doubtless after acquisition, and it is clear from a letter written | | doubtless after acquisition, and it is clear from a letter written |
| by Clark to H. H. E. Craster, Bodley's Librarian, on 3 | | by Clark to H. H. E. Craster, Bodley's Librarian, on 3 |
| February 1933 that credit for this should be given to `Our | | February 1933 that credit for this should be given to `Our |
| restorer, Young . . . generally reckoned one of the best | | restorer, Young . . . generally reckoned one of the best |
| restorers in the Country and . . . responsible for many of the | | restorers in the Country and . . . responsible for many of the |
| masteapicces in the Muscum'-in draft, Clack wrote, `8c no | | masteapicces in the Muscum'-in draft, Clack wrote, `8c no |
| one knows how much of the masterpieces in the Museum | | one knows how much of the masterpieces in the Museum |
| are his work'. Clark added that he was a `slow worker and | | are his work'. Clark added that he was a `slow worker and |
| paid a retaining fee by the Department of Andquities and is | | paid a retaining fee by the Department of Andquities and is |
| therefore bound to give up most of his time to their work. It | | therefore bound to give up most of his time to their work. It |
| is also almost impossible to get an estimate from him; I have | | is also almost impossible to get an estimate from him; I have |
| never had an account from him since I have been here.' | | never had an account from him since I have been here.' |
| n | | n | @@PROCESS |
| 158 | | 158 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Possibly the factory of SHORE of Matlock (flourished mid-ninctccnth | | Possibly the factory of SHORE of Matlock (flourished mid-ninctccnth |
| century) | | century) |
| n | | n | @@PROCESS |
| 569. Crater-shaped vase on a | | 569. Crater-shaped vase on a |
| pedestal | | pedestal |
| 42.2 cms. (height); 17.4 cms. (height of pcdcstal); 20.8 cms. | | 42.2 cms. (height); 17.4 cms. (height of pcdcstal); 20.8 cms. |
| (diameter of vase at lip); 15.7 cms. (length a.nd width of plinth | | (diameter of vase at lip); 15.7 cms. (length a.nd width of plinth |
| ofpcdcstal) | | ofpcdcstal) |
| The body of the vase is fashioned from an unusually large block of | | The body of the vase is fashioned from an unusually large block of |
| Dcrbyshirc fluorspar (blue-john). It is hollow only above the | | Dcrbyshirc fluorspar (blue-john). It is hollow only above the |
| handles. The foot is fashioned from a separate piece. The pedestal | | handles. The foot is fashioned from a separate piece. The pedestal |
| consists of blocks of white Camra marble forming base and crown | | consists of blocks of white Camra marble forming base and crown |
| mouldings, and sides of fluorspar veneered over a core. The plinth | | mouldings, and sides of fluorspar veneered over a core. The plinth |
| of the va.se and pedestal are of black marble (probably Derbyshire | | of the va.se and pedestal are of black marble (probably Derbyshire |
| black marble, from the Ash ford quarry). There is a plate of brass | | black marble, from the Ash ford quarry). There is a plate of brass |
| under the pcdestal's plinth. The pair of foliate handles and the thin | | under the pcdestal's plinth. The pair of foliate handles and the thin |
| bands of ornamental moulding between foot a.nd body, foot and | | bands of ornamental moulding between foot a.nd body, foot and |
| base of the vase, and at the edge of the base are of lacquered brass. | | base of the vase, and at the edge of the base are of lacquered brass. |
| The components are held together by a long bolt. | | The components are held together by a long bolt. |
| Bequeathed by Major Thomas Bouch in 1963. Received by the | | Bequeathed by Major Thomas Bouch in 1963. Received by the |
| museum on 20 November 1963. See also Nos. 451, 452, and 469. | | museum on 20 November 1963. See also Nos. 451, 452, and 469. |
| Blue-john had been employed omamentally since the middle | | Blue-john had been employed omamentally since the middle |
| of the eighteenth century, at first by local craftsmen but | | of the eighteenth century, at first by local craftsmen but |
| during the 1770s by the factory of Matthew Boulton at Soho | | during the 1770s by the factory of Matthew Boulton at Soho |
| (see Nos. 451-2, 608-9). After 1780 the material was | | (see Nos. 451-2, 608-9). After 1780 the material was |
| available to craftsmen all over Britain but seems mostly to | | available to craftsmen all over Britain but seems mostly to |
| have been worked and mounted by firms in Derbyshire. The | | have been worked and mounted by firms in Derbyshire. The |
| urns associated with Boulton are always solid, as was indeed | | urns associated with Boulton are always solid, as was indeed |
| an advantage for the relatively heavy candle branches often | | an advantage for the relatively heavy candle branches often |
| attached to them. Hollow work began to be made in the | | attached to them. Hollow work began to be made in the |
| 1780s and by 1802 the technique, which involved heating | | 1780s and by 1802 the technique, which involved heating |
| the stone and appl)ing resin, was very advanced and the | | the stone and appl)ing resin, was very advanced and the |
| delicacy of the translucent vases turned on water lathes is | | delicacy of the translucent vases turned on water lathes is |
| speciauy mentioned in John Mawe's A4l¢."c#¢/og}y a/Dc#kyul}G.rc | | speciauy mentioned in John Mawe's A4l¢."c#¢/og}y a/Dc#kyul}G.rc |
| (Derby, 1802), 75. In 1848 Robert Hcnson, addressing the | | (Derby, 1802), 75. In 1848 Robert Hcnson, addressing the |
| Western Literary Institution in Leiccster Square (in a lecture | | Western Literary Institution in Leiccster Square (in a lecture |
| published in B„¢./der, 6/307 (23 Dec. 1848), 617-18), | | published in B„¢./der, 6/307 (23 Dec. 1848), 617-18), |
| marvelled at the blue-john vases which could be illuminated | | marvelled at the blue-john vases which could be illuminated |
| by a taper. Hc noted in particular the products of Thomas | | by a taper. Hc noted in particular the products of Thomas |
| I.ambc's silk mill in Derby which had long since convcrtcd to | | I.ambc's silk mill in Derby which had long since convcrtcd to |
| working blue-john-this was the factory of either Shore, | | working blue-john-this was the factory of either Shore, |
| Evens, or Brown who were the chief rivals in the business. `A | | Evens, or Brown who were the chief rivals in the business. `A |
| prodigal waste of this stone was once carried on when | | prodigal waste of this stone was once carried on when |
| abundance could be obtained from the mine, but now it is | | abundance could be obtained from the mine, but now it is |
| extremely scarce and expensive, the price has risen from fl4 | | extremely scarce and expensive, the price has risen from fl4 |
| to fro per ton, and even larger sums have been given for very | | to fro per ton, and even larger sums have been given for very |
| fine specimens.' The waste thrown out in the eightccnth | | fine specimens.' The waste thrown out in the eightccnth |
| century was by then being collected from the River Derwent | | century was by then being collected from the River Derwent |
| for rcworking. | | for rcworking. |
| The firm which was especially noted for large, hollow, | | The firm which was especially noted for large, hollow, |
| turned vessels was that of Shore-some of these were as high | | turned vessels was that of Shore-some of these were as high |
| as 2 feet (A. E. 0llercnshaw and R J. and D. Harrison, A | | as 2 feet (A. E. 0llercnshaw and R J. and D. Harrison, A |
| H¢.#ory a/B/#c/o4„ Sfo„c (Brighouse, n.d. [c.1960]),18- | | H¢.#ory a/B/#c/o4„ Sfo„c (Brighouse, n.d. [c.1960]),18- |
| 19). This remarkable exanplc may bc tentatively attributed to | | 19). This remarkable exanplc may bc tentatively attributed to |
| that factory. The character of the fohatc handles and the | | that factory. The character of the fohatc handles and the |
| curvature of the lip of the crater are alike characteristic of the | | curvature of the lip of the crater are alike characteristic of the |
| revival of the rococo in the decorative arts at the time of the | | revival of the rococo in the decorative arts at the time of the |
| Great Exhibition. The unhappy conjunction of the handles | | Great Exhibition. The unhappy conjunction of the handles |
| with the gadrooning is a typical consequcncc of provincial | | with the gadrooning is a typical consequcncc of provincial |
| manufacture-there was technical skill in working the stone | | manufacture-there was technical skill in working the stone |
| but not much taste in the design of the final product and the | | but not much taste in the design of the final product and the |
| stone workers were separate from the suppliers of the mounts | | stone workers were separate from the suppliers of the mounts |
| (which were probably purchased `ready-made') so that the | | (which were probably purchased `ready-made') so that the |
| vases were not conceived of as a whole. In the better | | vases were not conceived of as a whole. In the better |
| eighteenth-century work in this material the amber-coloured | | eighteenth-century work in this material the amber-coloured |
| stone (as in the body of the vase here) was not contrasted | | stone (as in the body of the vase here) was not contrasted |
| with the amethyst (as in the pedestal here) but stone of a | | with the amethyst (as in the pedestal here) but stone of a |
| similar colour was used throughout. | | similar colour was used throughout. |
| lFT.I,1,,.,,,,,,,,I:1,,, | | lFT.I,1,,.,,,,,,,,I:1,,, |
| n | | n | @@PROCESS |
| 159 | | 159 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Unknoun foundry | | Unknoun foundry |
| After Phoebe STABLER (d.1955) | | After Phoebe STABLER (d.1955) |
| n | | n | @@PROCESS |
| 570. Faggot gatherer | | 570. Faggot gatherer |
| 22.5 cms. (height including integral base) | | 22.5 cms. (height including integral base) |
| Bronze with a very dark brown patina. Hollow, lost-wax, cast. | | Bronze with a very dark brown patina. Hollow, lost-wax, cast. |
| Incised in the model in the integral, naturalistic, base to proper left | | Incised in the model in the integral, naturalistic, base to proper left |
| `P.G. STABLER 1910'. | | `P.G. STABLER 1910'. |
| Given in 1956 by Cyril da Costa Andrade of Morocco House, | | Given in 1956 by Cyril da Costa Andrade of Morocco House, |
| Bayard's Cove, near Dartmouth, Devon, together with No. 487. | | Bayard's Cove, near Dartmouth, Devon, together with No. 487. |
| Redstcred on 3 October. | | Redstcred on 3 October. |
| Andrade was a considerable benefactor to the Department | | Andrade was a considerable benefactor to the Department |
| but his interest was chiefly in the field of ceramics rather than | | but his interest was chiefly in the field of ceramics rather than |
| sculpture. Phocbe Stabler, however, had made her reputation | | sculpture. Phocbe Stabler, however, had made her reputation |
| as a modeller for ceramics not long after this model was | | as a modeller for ceramics not long after this model was |
| signed, when the rights on her `Picardy Peasants' were | | signed, when the rights on her `Picardy Peasants' were |
| purchased for reproduction in earthenware and bone china | | purchased for reproduction in earthenware and bone china |
| by the Doulton Burslem factory at the instigation of its art | | by the Doulton Burslem factory at the instigation of its art |
| director Charles J. Nokes. The rights were purchased in 1911 | | director Charles J. Nokes. The rights were purchased in 1911 |
| and her figurines launched in the `HN' Range in 1913. She | | and her figurines launched in the `HN' Range in 1913. She |
| exhibited bronze statuettes at the Royal Academy during the | | exhibited bronze statuettes at the Royal Academy during the |
| same period (the earliest being Gr¢7¢ny in 1911, no.1814, | | same period (the earliest being Gr¢7¢ny in 1911, no.1814, |
| which might bc identical with the work catalogued here). | | which might bc identical with the work catalogued here). |
| Mrs Stabler seems never to have given her date of birth to a | | Mrs Stabler seems never to have given her date of birth to a |
| work of reference. In 1906 she married Harold Stabler, who | | work of reference. In 1906 she married Harold Stabler, who |
| was born in 1872. He worked as a sculptor, potter, and | | was born in 1872. He worked as a sculptor, potter, and |
| jeweller. | | jeweller. |
| n | | n | @@PROCESS |
| 160 | | 160 |
| Probably the foundry of J. W. Singer, Frome, Somerset | | Probably the foundry of J. W. Singer, Frome, Somerset |
| After Alfred STEVENS ( 1817-75 ) | | After Alfred STEVENS ( 1817-75 ) |
| n | | n | @@PROCESS |
| 571 and 572. Pair of allegorical | | 571 and 572. Pair of allegorical |
| groups from the monument to the | | groups from the monument to the |
| duke of wellington: Valour with | | duke of wellington: Valour with |
| Cowardice (571); Truth with | | Cowardice (571); Truth with |
| Falsehood ( 572) | | Falsehood ( 572) |
| 64.5 cms. (height of No. 571); 37 cms. (length of No. 571); | | 64.5 cms. (height of No. 571); 37 cms. (length of No. 571); |
| 30.5 cms. (length of No. 571 at base); 26.2 cms. (width of | | 30.5 cms. (length of No. 571 at base); 26.2 cms. (width of |
| No. 571 ); 60 cms. (height of No. 572); 41 cms. (length of | | No. 571 ); 60 cms. (height of No. 572); 41 cms. (length of |
| No. 572); 25.5 cms. (width of No. 572) | | No. 572); 25.5 cms. (width of No. 572) |
| Bronze with a black to chestnut patina. Hollow, sand-cast. Each | | Bronze with a black to chestnut patina. Hollow, sand-cast. Each |
| group is cast in one piece. No. 571 is hollow behind. Core remains | | group is cast in one piece. No. 571 is hollow behind. Core remains |
| in the right leg of valour and the right arm of Truth and both arms | | in the right leg of valour and the right arm of Truth and both arms |
| of Falsehood. A wire armature also remains in the arms of Falsehood. | | of Falsehood. A wire armature also remains in the arms of Falsehood. |
| There are numerous vestigial seams from the piece-moulded plaster | | There are numerous vestigial seams from the piece-moulded plaster |
| casts (from which the casting models were taken). | | casts (from which the casting models were taken). |
| Bought at Sotheby's, I.ondon, 31 October 1962, lot I from the | | Bought at Sotheby's, I.ondon, 31 October 1962, lot I from the |
| collection of Frank RInder by Colnaghi acting at short notice for | | collection of Frank RInder by Colnaghi acting at short notice for |
| Gerald Taylor who had admired them a short while before the | | Gerald Taylor who had admired them a short while before the |
| auction commenced. Bought from Mr Taylor and registered early | | auction commenced. Bought from Mr Taylor and registered early |
| August 1963. Placed on brackets in the Print Room, above the | | August 1963. Placed on brackets in the Print Room, above the |
| solander cabinets on the north wall, where they have remained. | | solander cabinets on the north wall, where they have remained. |
| The history of Alfred Stevens's monument to the duke of | | The history of Alfred Stevens's monument to the duke of |
| Wellington in St Paul's Cathedral has been traced in great | | Wellington in St Paul's Cathedral has been traced in great |
| detail by John Physick in 7%G We%79gfo7¢ 44o"#7"G"f (HMSO, | | detail by John Physick in 7%G We%79gfo7¢ 44o"#7"G"f (HMSO, |
| 1970). The first proposal for the monument was made not | | 1970). The first proposal for the monument was made not |
| long after the duke was buried in St Paul's in 1852 when Sir | | long after the duke was buried in St Paul's in 1852 when Sir |
| William Molesworth, First Commissioner of works, found | | William Molesworth, First Commissioner of works, found |
| himself with ca3,000 left out of the floo,000 voted by | | himself with ca3,000 left out of the floo,000 voted by |
| Parliament for the funeral expenses. Molesworth's planned | | Parliament for the funeral expenses. Molesworth's planned |
| limited competition was abandoned in 1855 and an open | | limited competition was abandoned in 1855 and an open |
| competition was announced by his successor, Sir Benjamin | | competition was announced by his successor, Sir Benjamin |
| Hall, in September of the following year. On 7 August 1857 | | Hall, in September of the following year. On 7 August 1857 |
| Stevens's design was one of six placed equal fourth in the | | Stevens's design was one of six placed equal fourth in the |
| competition-the value of the competition was, however, | | competition-the value of the competition was, however, |
| much diminished by the fact that the only judge profcssionany | | much diminished by the fact that the only judge profcssionany |
| connected with the arts, C. R. Cockerell, declined to | | connected with the arts, C. R. Cockerell, declined to |
| participate in the final decision. | | participate in the final decision. |
| Stevens's model in plaster and wax, 9 fcct 9 inches high, | | Stevens's model in plaster and wax, 9 fcct 9 inches high, |
| now in the Victoria and Albert Museum (44-1878), was | | now in the Victoria and Albert Museum (44-1878), was |
| published in the I//#ffr¢£Gd lo„do„ Niow7J on 12 September | | published in the I//#ffr¢£Gd lo„do„ Niow7J on 12 September |
| 1857, whose critic admired the way that the `vanquished | | 1857, whose critic admired the way that the `vanquished |
| figures were flung out from the pile with a boldness and | | figures were flung out from the pile with a boldness and |
| terrific spirit'. They were not, however, universany approved | | terrific spirit'. They were not, however, universany approved |
| and the Ecc/cfG.a/ogrS.ff, champion of the Gothic Revival, found | | and the Ecc/cfG.a/ogrS.ff, champion of the Gothic Revival, found |
| the `demonology' both `intrusive and unintchictble'. The | | the `demonology' both `intrusive and unintchictble'. The |
| announcement that Stevens's design had been selected was | | announcement that Stevens's design had been selected was |
| made in June 1858 and he was offered the commission | | made in June 1858 and he was offered the commission |
| provided he made a full-sized model. He agreed to this | | provided he made a full-sized model. He agreed to this |
| Condition on 9 September 1858. The model for the group | | Condition on 9 September 1858. The model for the group |
| of Truth was `almost two thirds complcte' by 27 November | | of Truth was `almost two thirds complcte' by 27 November |
| 1860, but work on the model as a whole proceeded slowly | | 1860, but work on the model as a whole proceeded slowly |
| and it was not until January 1867 that it was sufficiently | | and it was not until January 1867 that it was sufficiently |
| advanced for Stevens to be given permission to proceed with | | advanced for Stevens to be given permission to proceed with |
| the sculpture. | | the sculpture. |
| The plaster casts of the full-sized models for the groups in | | The plaster casts of the full-sized models for the groups in |
| the Victoria and Albert Museum (32la and 32lb-1878) show | | the Victoria and Albert Museum (32la and 32lb-1878) show |
| many minor deviations from the origivial models (which are | | many minor deviations from the origivial models (which are |
| reflected in the Ashmolean's bronzes)-for instance, the club | | reflected in the Ashmolean's bronzes)-for instance, the club |
| of Hercules is held by Valour at a different angle, the right | | of Hercules is held by Valour at a different angle, the right |
| leg of Truth is draped, and Falsehood's left hand clutches a | | leg of Truth is draped, and Falsehood's left hand clutches a |
| ball. These casts probably date from 1866. The models wcrc | | ball. These casts probably date from 1866. The models wcrc |
| being prepared for casting in the summer of 1870, but the | | being prepared for casting in the summer of 1870, but the |
| groups had not been cast when Stevens died on I May 1875. | | groups had not been cast when Stevens died on I May 1875. |
| The bronzes were, however, ready by the summer of 1876 | | The bronzes were, however, ready by the summer of 1876 |
| when, together with the effigy of the duke, they were exhibited | | when, together with the effigy of the duke, they were exhibited |
| at the Royal Academy (as nos.1427 and 1522). The | | at the Royal Academy (as nos.1427 and 1522). The |
| monument was unvcfled in 1878. In 1894 it was moved to | | monument was unvcfled in 1878. In 1894 it was moved to |
| the location in St Paul's which had origivally been proposed | | the location in St Paul's which had origivally been proposed |
| for it. The crowning equestrian statue, however, which had | | for it. The crowning equestrian statue, however, which had |
| origivally been planned but which was then objected to by | | origivally been planned but which was then objected to by |
| the Dean of st Paul's, was not placed in position until 1903 | | the Dean of st Paul's, was not placed in position until 1903 |
| and the monument was not finally unveiled until 1912. | | and the monument was not finally unveiled until 1912. |
| As Ian Robertson observed in the A#"#¢/ RGPo77 ( 1963: | | As Ian Robertson observed in the A#"#¢/ RGPo77 ( 1963: |
| 53) a study for the figure of valour was among the group of | | 53) a study for the figure of valour was among the group of |
| drawings by Stcvens in the Department's collection. It had | | drawings by Stcvens in the Department's collection. It had |
| been part of the Madan Bequest in 1962 and so was very | | been part of the Madan Bequest in 1962 and so was very |
| much in the minds of the curatorial staff. He suggested that | | much in the minds of the curatorial staff. He suggested that |
| the Ashmolean's bronzes were `likely to have been one of the | | the Ashmolean's bronzes were `likely to have been one of the |
| four pairs included in the first day of Stevcns's studio sale 19 | | four pairs included in the first day of Stevcns's studio sale 19 |
| July 1877 lots 4649', but there is no cvidcncc for this and | | July 1877 lots 4649', but there is no cvidcncc for this and |
| the casts mentioned in these lots must have been of plaster | | the casts mentioned in these lots must have been of plaster |
| (they sold for cvcry little). Robcrtson recorded three other | | (they sold for cvcry little). Robcrtson recorded three other |
| pairs: those in the Victoria and Albert Museum, the City | | pairs: those in the Victoria and Albert Museum, the City |
| Museum and Art Gallery, Leiccster, and in the collection of | | Museum and Art Gallery, Leiccster, and in the collection of |
| Mr and Mrs Charles Handley-Read, with the inphcation that | | Mr and Mrs Charles Handley-Read, with the inphcation that |
| these were the other three pairs in the sale. Thcrc are in fact | | these were the other three pairs in the sale. Thcrc are in fact |
| numerous other bronze casts of this type (for instance, in the | | numerous other bronze casts of this type (for instance, in the |
| National Gallery of Scotland, 2057, the National Ganery of | | National Gallery of Scotland, 2057, the National Ganery of |
| Ireland, 65-8075 and 59-8076, Fitzwilliani Museum, | | Ireland, 65-8075 and 59-8076, Fitzwilliani Museum, |
| Cambridge) and it is known that the pair in the Victoria and | | Cambridge) and it is known that the pair in the Victoria and |
| Albert Museum (on loan to the Mappin Art Gallery, Sheffield | | Albert Museum (on loan to the Mappin Art Gallery, Sheffield |
| (264 and 265-1896) were bought for £25 each in 1896 from | | (264 and 265-1896) were bought for £25 each in 1896 from |
| the Singer foundry and were cast from plasters in the | | the Singer foundry and were cast from plasters in the |
| possession of John R Clayton (see S. Jcrvis (ed.), V¢.cfo".¢„ | | possession of John R Clayton (see S. Jcrvis (ed.), V¢.cfo".¢„ |
| ¢»d Ed7p¢kd¢.fl» DGcor¢£¢.pc A# (catalogue of the Handley- | | ¢»d Ed7p¢kd¢.fl» DGcor¢£¢.pc A# (catalogue of the Handley- |
| Read Collection, Royal Academy, I.ondon, 1972), 58-9, cat. | | Read Collection, Royal Academy, I.ondon, 1972), 58-9, cat. |
| mos. C84-5 by Iidvinia Handley-Read). It is likely that the | | mos. C84-5 by Iidvinia Handley-Read). It is likely that the |
| Ashmolean pair belong to the sanie large commercial | | Ashmolean pair belong to the sanie large commercial |
| posthumous edition. The plaster casts in Clayton's possession | | posthumous edition. The plaster casts in Clayton's possession |
| were evidently made in a piece-mould from an origival sketchy | | were evidently made in a piece-mould from an origival sketchy |
| clay model (or, more probably, from a plaster made in a waste | | clay model (or, more probably, from a plaster made in a waste |
| mould from such a clay model) made by Stevcns in connection | | mould from such a clay model) made by Stevcns in connection |
| with his origival competition model exhibited in 1857. It is | | with his origival competition model exhibited in 1857. It is |
| most unlikely that Stevcns would have wanted a work of this | | most unlikely that Stevcns would have wanted a work of this |
| character to be converted into bronze. By 1896 of course | | character to be converted into bronze. By 1896 of course |
| n | | n | @@PROCESS |
| 161 | | 161 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Stevcns was acknowledged as a genius and moreover as the | | Stevcns was acknowledged as a genius and moreover as the |
| spiritual parent of the `New Sculpture'. His sketches were | | spiritual parent of the `New Sculpture'. His sketches were |
| valued. The monument to Wellington was by then being | | valued. The monument to Wellington was by then being |
| treated as a monument to Stevcns as well as to Wellington. | | treated as a monument to Stevcns as well as to Wellington. |
| n | | n | @@PROCESS |
| 162 | | 162 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| )ohm Macallan SWAN RA ( 1847-1910) | | )ohm Macallan SWAN RA ( 1847-1910) |
| n | | n | @@PROCESS |
| 573. Head of a puma | | 573. Head of a puma |
| 7.8 cms, (length) | | 7.8 cms, (length) |
| Red wax. There is a small chip missing from the animal's right car. | | Red wax. There is a small chip missing from the animal's right car. |
| `Macallam Swan' is incised in the wax in a bold cursive hand with | | `Macallam Swan' is incised in the wax in a bold cursive hand with |
| a sharp modelling tool below the animal's right ear. On the opposite | | a sharp modelling tool below the animal's right ear. On the opposite |
| side of the head a word, possibly `puma', is incised in a similar style. | | side of the head a word, possibly `puma', is incised in a similar style. |
| Mounted by means of an oriSnal copper prong on a velvet covered | | Mounted by means of an oriSnal copper prong on a velvet covered |
| pedestal. | | pedestal. |
| Purchased 1966 from Alfred Spero of 4 Park Mansions Arcade, | | Purchased 1966 from Alfred Spero of 4 Park Mansions Arcade, |
| Knightsbridge. Registered on or soon after 19 April (the entry is | | Knightsbridge. Registered on or soon after 19 April (the entry is |
| undated but the previous entry carries this date). | | undated but the previous entry carries this date). |
| The wax model is hard to date. Swan's ro#„g f¢givr was | | The wax model is hard to date. Swan's ro#„g f¢givr was |
| exhibited at the Royal Academy in 1889 and thereafter he | | exhibited at the Royal Academy in 1889 and thereafter he |
| enjoyed a reputation for his vivid sketches of wild animals, | | enjoyed a reputation for his vivid sketches of wild animals, |
| indebted to the traditions of French ¢"¢.ow¢/G.G7r bronzes, such | | indebted to the traditions of French ¢"¢.ow¢/G.G7r bronzes, such |
| as those of Fr6mict under whom Swan had studied in the | | as those of Fr6mict under whom Swan had studied in the |
| 1870s. | | 1870s. |
| Charles SYKES ( 1875-1950) | | Charles SYKES ( 1875-1950) |
| n | | n | @@PROCESS |
| 574. Eve, a Waning to Woman | | 574. Eve, a Waning to Woman |
| 11.3 cms. (height including integral base); 3.55 cms. (height of | | 11.3 cms. (height including integral base); 3.55 cms. (height of |
| base); 3.4 cms. (length of base); 3 cms. (width of base) | | base); 3.4 cms. (length of base); 3 cms. (width of base) |
| Bronze with a dark green and brown patina worn to golden brown | | Bronze with a dark green and brown patina worn to golden brown |
| on hair and apple. Hollow cast. Faintly signed in the model on the | | on hair and apple. Hollow cast. Faintly signed in the model on the |
| sides of the block at the back below the figurc's left buttock `C. S. | | sides of the block at the back below the figurc's left buttock `C. S. |
| Sykcs'. | | Sykcs'. |
| Given by Mrs Jessica Sykes, of Gothic House, Drayton by Abingdon, | | Given by Mrs Jessica Sykes, of Gothic House, Drayton by Abingdon, |
| Bcrkshire, in memory of her husband the sculptor,1953. Rcctstercd | | Bcrkshire, in memory of her husband the sculptor,1953. Rcctstercd |
| on 28 May. See also No. 575. | | on 28 May. See also No. 575. |
| The date of this curious and grotesque work is not recorded, | | The date of this curious and grotesque work is not recorded, |
| but it may be a miniature, private, and half-satirical rcsponsc | | but it may be a miniature, private, and half-satirical rcsponsc |
| to controversial heroic sculpture by Jacob Epstein such as his | | to controversial heroic sculpture by Jacob Epstein such as his |
| Gc„efG.f of 1931 (Seravczza marble, Granada Television | | Gc„efG.f of 1931 (Seravczza marble, Granada Television |
| Collection on loan to the Whitworth Art Gallery, University | | Collection on loan to the Whitworth Art Gallery, University |
| of Manchester). Nothing could be less like Sykcs's bcst-known | | of Manchester). Nothing could be less like Sykcs's bcst-known |
| sculpture, the SpG.r¢.f a/Gcj£#ty, which, in various sizes | | sculpture, the SpG.r¢.f a/Gcj£#ty, which, in various sizes |
| and finishes and with minor variations, has served as a mascot | | and finishes and with minor variations, has served as a mascot |
| for Rolls-Royce since early in 1911. | | for Rolls-Royce since early in 1911. |
| n | | n | @@PROCESS |
| 163 | | 163 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Charles SYKES ( 1875-1950) | | Charles SYKES ( 1875-1950) |
| n | | n | @@PROCESS |
| 575. Europa | | 575. Europa |
| 20.8 cms. (height of bronze); 27.5 cms. (length of bronze); | | 20.8 cms. (height of bronze); 27.5 cms. (length of bronze); |
| 2.8 cms. (height of plinth); 27 cms. (length of plinth); 9.2 cms. | | 2.8 cms. (height of plinth); 27 cms. (length of plinth); 9.2 cms. |
| (width of plinth) | | (width of plinth) |
| Bronze with a golden brown patina. Hollow cast. Mounted on a | | Bronze with a golden brown patina. Hollow cast. Mounted on a |
| plinth of pale walnut. One label on the underside of the plinth | | plinth of pale walnut. One label on the underside of the plinth |
| reveals that the bronze was exhibited between 1943 and 1944 at the | | reveals that the bronze was exhibited between 1943 and 1944 at the |
| Russell Cotes Art Gallery, Boumcmouth; another that it was | | Russell Cotes Art Gallery, Boumcmouth; another that it was |
| included in a memorial exhibition at Walker's Galleries, 118 Bond | | included in a memorial exhibition at Walker's Galleries, 118 Bond |
| St, I,ondon. Thcrc is also a label marked with the price £38. | | St, I,ondon. Thcrc is also a label marked with the price £38. |
| Given by Mrs Jessica Sykcs, of Gothic House, Drayton by Abingdon, | | Given by Mrs Jessica Sykcs, of Gothic House, Drayton by Abingdon, |
| Bcrkshire, in memory of her husband the sculptor,1953. Rctlstcred | | Bcrkshire, in memory of her husband the sculptor,1953. Rctlstcred |
| on 28 May. See also No. 574. | | on 28 May. See also No. 574. |
| n | | n | @@PROCESS |
| 164 | | 164 |
| The labels on the reverse of the phnth suggest this sculpture | | The labels on the reverse of the phnth suggest this sculpture |
| must date from before 1943 and it would seem likely to | | must date from before 1943 and it would seem likely to |
| belong to the 1930s. The subject of Europa and the Bull was | | belong to the 1930s. The subject of Europa and the Bull was |
| made enormously popular in European sculpture by the | | made enormously popular in European sculpture by the |
| famous bronze by the Swedish sculptor Carl Mines of 1923- | | famous bronze by the Swedish sculptor Carl Mines of 1923- |
| 4 (one cast of which is in the Tate Gallery, I.ondon). Other | | 4 (one cast of which is in the Tate Gallery, I.ondon). Other |
| British sculptors to have attcmptcd it during the 1930s were | | British sculptors to have attcmptcd it during the 1930s were |
| Joseph Else and S. Nicholson Babb (see ModGow Sc#/P£#"G, | | Joseph Else and S. Nicholson Babb (see ModGow Sc#/P£#"G, |
| the photographic anthology published by the Royal Society | | the photographic anthology published by the Royal Society |
| of British Sculptors, I.ondon, no date, but 193940, pp. 8 | | of British Sculptors, I.ondon, no date, but 193940, pp. 8 |
| and 30). For the popularity of this subject generally in Europe | | and 30). For the popularity of this subject generally in Europe |
| see U. Berger, `Europa in neuer Gestalt', in D¢.c VGrf#47`¢¢"g | | see U. Berger, `Europa in neuer Gestalt', in D¢.c VGrf#47`¢¢"g |
| de7 E#7iop¢ ( Kunstgewerbcmuscum, West Berlin, 1988 ). | | de7 E#7iop¢ ( Kunstgewerbcmuscum, West Berlin, 1988 ). |
| What appear to be preliminary pencil drawings for Sykes's | | What appear to be preliminary pencil drawings for Sykes's |
| E#rop¢ were, in April 1978, in a private collection in Ascot, | | E#rop¢ were, in April 1978, in a private collection in Ascot, |
| Berkshirc. | | Berkshirc. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| | | @@PROCESS |
| 165 | | 165 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Frederick TATIIAM ( 1805-78 ) | | Frederick TATIIAM ( 1805-78 ) |
| n | | n | @@PROCESS |
| 576. Hcad of an antique warrior | | 576. Hcad of an antique warrior |
| 62.3 cms. (height) | | 62.3 cms. (height) |
| Carrara marble. Drilling is evident in several areas, under the peak | | Carrara marble. Drilling is evident in several areas, under the peak |
| of the helmet, beside the curls of hair, and under the moustache. | | of the helmet, beside the curls of hair, and under the moustache. |
| There are rough chisel marks apparent on the brow. | | There are rough chisel marks apparent on the brow. |
| `FRED? / TATHAM / 1830.' is chiscllcd on the face of the integral | | `FRED? / TATHAM / 1830.' is chiscllcd on the face of the integral |
| soclc below the back of the neck. | | soclc below the back of the neck. |
| Bought for £3,200 on 7 July 1988 from Jonathan Clark Ltd, 18 | | Bought for £3,200 on 7 July 1988 from Jonathan Clark Ltd, 18 |
| Park Walk, h)ndon Swlo. The sculpture was drawn to the Kecper's | | Park Walk, h)ndon Swlo. The sculpture was drawn to the Kecper's |
| attention by Mr and Mrs John Gerc. | | attention by Mr and Mrs John Gerc. |
| Frederick Tatham was the eldest son of the architect Charles | | Frederick Tatham was the eldest son of the architect Charles |
| Heathcotc Tatham ( 1772-1842). He was awarded the Silver | | Heathcotc Tatham ( 1772-1842). He was awarded the Silver |
| Palette from the Society of Arts in 1824 and chiefly exhibited | | Palette from the Society of Arts in 1824 and chiefly exhibited |
| portrait miniatures at the Royal Academy, but between 1825 | | portrait miniatures at the Royal Academy, but between 1825 |
| and 1832 he was active as a sculptor showing work at both | | and 1832 he was active as a sculptor showing work at both |
| the British Institution, including, in 1829, 777c E"j/¢pcd | | the British Institution, including, in 1829, 777c E"j/¢pcd |
| Tvy#"f (no. 535) and 77lc DyG.»g W¢rr¢.o7 (no. 541), and the | | Tvy#"f (no. 535) and 77lc DyG.»g W¢rr¢.o7 (no. 541), and the |
| Royal Academy. The curious socle of two superimposed | | Royal Academy. The curious socle of two superimposed |
| blocks with chamfcred corners, by which the head, cut off | | blocks with chamfcred corners, by which the head, cut off |
| obliquely below the bare neck, appears to have been impaled | | obliquely below the bare neck, appears to have been impaled |
| at random, is paralleled in some other British sculpture of this | | at random, is paralleled in some other British sculpture of this |
| period, for instance Samuel Joseph's beautiful bust of an | | period, for instance Samuel Joseph's beautiful bust of an |
| unknown woman of 1825 at Temple Newsan House, Leeds. | | unknown woman of 1825 at Temple Newsan House, Leeds. |
| •i-,,,,i,,,:,h'ri-,:,''::'',,,,.,,,,giv | | •i-,,,,i,,,:,h'ri-,:,''::'',,,,.,,,,giv |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry of A. 8. Burton, Thames Ditton, Surrey | | Foundry of A. 8. Burton, Thames Ditton, Surrey |
| Cccil THOMAS OBE, FRBs ( 1885-1976) | | Cccil THOMAS OBE, FRBs ( 1885-1976) |
| n | | n | @@PROCESS |
| 577. Portrait head of Archibald | | 577. Portrait head of Archibald |
| G. 8. Russell | | G. 8. Russell |
| 58.2 cms. (height including pedestal); 17.5 cms. (height of | | 58.2 cms. (height including pedestal); 17.5 cms. (height of |
| pedestal); 17.6 cms. (length of pedestal); 17.7 cms. (width of | | pedestal); 17.6 cms. (length of pedestal); 17.7 cms. (width of |
| pedestal) | | pedestal) |
| Bronze with a dull dark grey to green patina. Hollow, sand-cast, in | | Bronze with a dull dark grey to green patina. Hollow, sand-cast, in |
| one piece. `CECIL THOMAS / 1926' is incised funtly in the model | | one piece. `CECIL THOMAS / 1926' is incised funtly in the model |
| on the side of the naITow uppermost step of the tapering pedestal, | | on the side of the naITow uppermost step of the tapering pedestal, |
| at the rear. `A. G. 8. Russell Bequest 1958' is written on a paper | | at the rear. `A. G. 8. Russell Bequest 1958' is written on a paper |
| label in the interior of the pedestal. | | label in the interior of the pedestal. |
| Bequeathed by Archibald Gcorgc Blomeficld Russell CVO, JP, | | Bequeathed by Archibald Gcorgc Blomeficld Russell CVO, JP, |
| Clarenceux FGng-of-Arms, who died March 1956. Received on 8 | | Clarenceux FGng-of-Arms, who died March 1956. Received on 8 |
| October 1958 from Mr Russell's unofficially adopted daughter Mrs | | October 1958 from Mr Russell's unofficially adopted daughter Mrs |
| Stedall-item no. 9 in the receipt made on that occasion. It would | | Stedall-item no. 9 in the receipt made on that occasion. It would |
| seem that the Keeper, K. T. Parker, was not delighted at the prospect | | seem that the Keeper, K. T. Parker, was not delighted at the prospect |
| of receiving the bust, for in a xerox of the codicil added by Russell | | of receiving the bust, for in a xerox of the codicil added by Russell |
| to his will in 1955 he wrote `No!' opposite this item. | | to his will in 1955 he wrote `No!' opposite this item. |
| Cecil Thomas was apprcnticed to his father, a gem engraver, | | Cecil Thomas was apprcnticed to his father, a gem engraver, |
| and the first of his exhibits at the Royal Academy was a case | | and the first of his exhibits at the Royal Academy was a case |
| of four gems in 1909. While still working in the finjly | | of four gems in 1909. While still working in the finjly |
| workshop he studied sculpture at the Central School, at | | workshop he studied sculpture at the Central School, at |
| Hcatherly's, and at the Slade School and from the cutting of | | Hcatherly's, and at the Slade School and from the cutting of |
| cameo profiles he graduated to larger portrait medallions. | | cameo profiles he graduated to larger portrait medallions. |
| After service in the First World War as an intelligence officer | | After service in the First World War as an intelligence officer |
| he received a commission to commemorate the sons of I.ord | | he received a commission to commemorate the sons of I.ord |
| and Lady Forster of Lepc. The recumbent cffigics (the first | | and Lady Forster of Lepc. The recumbent cffigics (the first |
| of many by him) attracted the notice of Archibald Russell, | | of many by him) attracted the notice of Archibald Russell, |
| then Lancaster Herald, as did some of his portrait busts, four | | then Lancaster Herald, as did some of his portrait busts, four |
| of which he published in `Thc Sculpture of Cccil Thomas' in | | of which he published in `Thc Sculpture of Cccil Thomas' in |
| A77 Worfe,I/4 (May-Aug. 1925). In the following year, it | | A77 Worfe,I/4 (May-Aug. 1925). In the following year, it |
| seems, Russell sat for Thomas and on a note dated 9 | | seems, Russell sat for Thomas and on a note dated 9 |
| December 1926 (in the card index he made of works of all | | December 1926 (in the card index he made of works of all |
| in his collection) Russell recorded that the portrait head had | | in his collection) Russell recorded that the portrait head had |
| been prcscnted to him by the sculptor but that he had paid | | been prcscnted to him by the sculptor but that he had paid |
| fl710s. to A. 8. Burton of Thames Ditton, Surrey, for the | | fl710s. to A. 8. Burton of Thames Ditton, Surrey, for the |
| casting. The portrait head was exhibited at the Royal Academy | | casting. The portrait head was exhibited at the Royal Academy |
| in 1929 (no.1560 `Archibald G. 8. Russell Esq., I.ancaster | | in 1929 (no.1560 `Archibald G. 8. Russell Esq., I.ancaster |
| Herald-head, bronzc' ). | | Herald-head, bronzc' ). |
| In his article on Thomas's sculpture Russell had vcnturcd | | In his article on Thomas's sculpture Russell had vcnturcd |
| one criticism of the portraits: | | one criticism of the portraits: |
| It may perhaps be questioned whether the problem of adjusting his | | It may perhaps be questioned whether the problem of adjusting his |
| portraiture to the conventional requirements of the base upon which | | portraiture to the conventional requirements of the base upon which |
| it stands, has as yet been solved by Mr Thomas in a wholly satisfactory | | it stands, has as yet been solved by Mr Thomas in a wholly satisfactory |
| manner. In common with many other sculptors of our time, he | | manner. In common with many other sculptors of our time, he |
| suffers from the unfortunate legacy from as great a master as Rodin, | | suffers from the unfortunate legacy from as great a master as Rodin, |
| whose too frequent practice it was to evade the undoubted | | whose too frequent practice it was to evade the undoubted |
| difficulties presented by the transition bctwcen convention and | | difficulties presented by the transition bctwcen convention and |
| realism, by leaving his work unfinished. It would appear moreover | | realism, by leaving his work unfinished. It would appear moreover |
| to be Mr Thomas's plan to carry the lines of the sculpture down to | | to be Mr Thomas's plan to carry the lines of the sculpture down to |
| the base, whereas a more satisfying harmony would probably be | | the base, whereas a more satisfying harmony would probably be |
| obtained between the two by inverting the process and givng the | | obtained between the two by inverting the process and givng the |
| head an upward spring from the base, and by assigning to the latter | | head an upward spring from the base, and by assigning to the latter |
| a somewhat more definite character, however formal, of its own. | | a somewhat more definite character, however formal, of its own. |
| The stepped tapering pedestal and the somewhat heraldic | | The stepped tapering pedestal and the somewhat heraldic |
| treatment of the upper chest in this portrait must be a | | treatment of the upper chest in this portrait must be a |
| response to this criticism. The rose and crown on the pedestal | | response to this criticism. The rose and crown on the pedestal |
| identify Russell as I.ancastcr Herald. | | identify Russell as I.ancastcr Herald. |
| Thomas enjoyed considerable success as a sculptor chiefly | | Thomas enjoyed considerable success as a sculptor chiefly |
| of portraits but also of ideal or decorative figures for | | of portraits but also of ideal or decorative figures for |
| gardens---for instance, his Le¢P¢."g/£¢ reproduced in the | | gardens---for instance, his Le¢P¢."g/£¢ reproduced in the |
| Royal Society of British Sculpture's Mode" Sc#/p£„rc ( n.d. | | Royal Society of British Sculpture's Mode" Sc#/p£„rc ( n.d. |
| but 193940, p. 90)-and for architecture-for instance the | | but 193940, p. 90)-and for architecture-for instance the |
| heraldic decorations of the British Pavilion at the New York | | heraldic decorations of the British Pavilion at the New York |
| World's Fair in 1939, and the sculpture on the rebuilt Church | | World's Fair in 1939, and the sculpture on the rebuilt Church |
| of All Hallows by the Tower and St John of Jerusalem, | | of All Hallows by the Tower and St John of Jerusalem, |
| Clerkenwell (both in Iondon). His best-known work, | | Clerkenwell (both in Iondon). His best-known work, |
| however, was for the Mint-among it, the rclicf portraits of | | however, was for the Mint-among it, the rclicf portraits of |
| Queen Elizabeth 11 for overseas coimge and the coronation | | Queen Elizabeth 11 for overseas coimge and the coronation |
| medal and four of the reverses of the new UK coinage issued | | medal and four of the reverses of the new UK coinage issued |
| for the new reign. (See Who W¢f Who 1971-80 and the | | for the new reign. (See Who W¢f Who 1971-80 and the |
| obituary in 7Z7G T¢.owcf, 20 September 1976. ) | | obituary in 7Z7G T¢.owcf, 20 September 1976. ) |
| Archibald Russell becanc a major benefactor of the | | Archibald Russell becanc a major benefactor of the |
| Ashmolean Museum, principally by Sfts to the Print Room, | | Ashmolean Museum, principally by Sfts to the Print Room, |
| commencing in 1944 with fourteen of his finest drawings | | commencing in 1944 with fourteen of his finest drawings |
| presented through the National Art-Collections Fund in | | presented through the National Art-Collections Fund in |
| memory of his son Lieutenant John Anthony Peregrine Russell | | memory of his son Lieutenant John Anthony Peregrine Russell |
| who was killed in action in January 1941. | | who was killed in action in January 1941. |
| n | | n | @@PROCESS |
| 167 | | 167 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Probably the foundry of J. W. Singer, Frome, Somerset | | Probably the foundry of J. W. Singer, Frome, Somerset |
| After [William] Hamo THORNYCROFT RA ( 1850-1925) | | After [William] Hamo THORNYCROFT RA ( 1850-1925) |
| n | | n | @@PROCESS |
| 578. The Mower | | 578. The Mower |
| 58.7 cms. (height including plinth); 2.9 cms. (height of plinth); | | 58.7 cms. (height including plinth); 2.9 cms. (height of plinth); |
| 22.5 cms. (length of plinth); 16.7 cms. (width of plinth) | | 22.5 cms. (length of plinth); 16.7 cms. (width of plinth) |
| Bronze with a rich chestnut patina. Hollow, lost-wax, cast. An iron | | Bronze with a rich chestnut patina. Hollow, lost-wax, cast. An iron |
| armature is evident in the underside of the plinth, as is some core. | | armature is evident in the underside of the plinth, as is some core. |
| The plinth may have been separately cast. `Hamo Thomycroft Sc. | | The plinth may have been separately cast. `Hamo Thomycroft Sc. |
| 1920' is incised in the model on the proper right face of the plinth. | | 1920' is incised in the model on the proper right face of the plinth. |
| `Hamo Thomycroft RA.' is incised in the model on the upper | | `Hamo Thomycroft RA.' is incised in the model on the upper |
| surface of the naturalistic plinth beside the figure's proper left foot. | | surface of the naturalistic plinth beside the figure's proper left foot. |
| `As the tiny swell of our boat moved the river grass / Stood with | | `As the tiny swell of our boat moved the river grass / Stood with |
| suspended scythe to see us pass / -Matt. Arnold-' is incised in | | suspended scythe to see us pass / -Matt. Arnold-' is incised in |
| the model on rcaf face of the plinth, the letters not all distinctly | | the model on rcaf face of the plinth, the letters not all distinctly |
| legible owing to the burr. There is a small mark in front of the | | legible owing to the burr. There is a small mark in front of the |
| letters on the second line which could be an ampersand. | | letters on the second line which could be an ampersand. |
| Given by Agatha Thomycroft, the sculptor's widow ( 1864-1958 ), | | Given by Agatha Thomycroft, the sculptor's widow ( 1864-1958 ), |
| in 1940. A letter by her to the Keeper, Ion Robertson, of 24 April | | in 1940. A letter by her to the Keeper, Ion Robertson, of 24 April |
| asks whether the Museum would `like to have this statuettcL-possibly | | asks whether the Museum would `like to have this statuettcL-possibly |
| on loan', adding that her late husband would have liked it | | on loan', adding that her late husband would have liked it |
| to go there. | | to go there. |
| Thornycroft signed a small wax model of a ih4lo7pGr "etf?.„g in | | Thornycroft signed a small wax model of a ih4lo7pGr "etf?.„g in |
| 1882 (Tate Gallery) and was planning a statue early in 1883 | | 1882 (Tate Gallery) and was planning a statue early in 1883 |
| when hc fell in love with the l8-year-old Agatha Cox. In | | when hc fell in love with the l8-year-old Agatha Cox. In |
| Scptcmber of that year he expressed himself eager to start | | Scptcmber of that year he expressed himself eager to start |
| work on the clay model. In October he wrote to Agatha, by | | work on the clay model. In October he wrote to Agatha, by |
| now his fiancee, sending her (together with a cookery book) | | now his fiancee, sending her (together with a cookery book) |
| selections from the poetry of Matthew Arnold in which he | | selections from the poetry of Matthew Arnold in which he |
| had marked some hnes from `Thyrsis', Arnold's monody | | had marked some hnes from `Thyrsis', Arnold's monody |
| commemorating Arthur Hugh Clough which was first | | commemorating Arthur Hugh Clough which was first |
| published in 1866. The poet ponders on the girl who used | | published in 1866. The poet ponders on the girl who used |
| to unmoor the skiff in which he and his Oxford friend `track'd | | to unmoor the skiff in which he and his Oxford friend `track'd |
| the sly Thames shorc'- | | the sly Thames shorc'- |
| Where are the Mowers, who, as the tiny swell | | Where are the Mowers, who, as the tiny swell |
| Of our boat passing heav'd the river-grass, | | Of our boat passing heav'd the river-grass, |
| Stood with suspended scythe to see us pass.>- | | Stood with suspended scythe to see us pass.>- |
| They are all gone, and thou art gone as well. | | They are all gone, and thou art gone as well. |
| Most of these lines were to be printed in the Royal Academy | | Most of these lines were to be printed in the Royal Academy |
| catalogue and two of them were to be incised on the sculpture | | catalogue and two of them were to be incised on the sculpture |
| itself (inaccurately, perhaps from the sculptor's memory). | | itself (inaccurately, perhaps from the sculptor's memory). |
| Despite this association with a nostalSc pastoral the choice | | Despite this association with a nostalSc pastoral the choice |
| of subject matter may also reflect the political ideas of the | | of subject matter may also reflect the political ideas of the |
| sculptor's fiancee and her `sympathy with the hard-handed | | sculptor's fiancee and her `sympathy with the hard-handed |
| toilers' which he noted in his diary. He later claimed that he | | toilers' which he noted in his diary. He later claimed that he |
| had anticipated both Meunier and Dalou in this heroic | | had anticipated both Meunier and Dalou in this heroic |
| representation of a labourer. But the sculpture seems rather | | representation of a labourer. But the sculpture seems rather |
| to blend ancient and modern as Arnold mingles Victorian | | to blend ancient and modern as Arnold mingles Victorian |
| Oxford with classical Sicily in his poem. The boots and | | Oxford with classical Sicily in his poem. The boots and |
| leggivgs do make it a modern figure but the occupation is | | leggivgs do make it a modern figure but the occupation is |
| an ancient one and moreover one with strong symbolic | | an ancient one and moreover one with strong symbolic |
| connotations which are underlined by John Addington | | connotations which are underlined by John Addington |
| Symond's sonnet of 1884: | | Symond's sonnet of 1884: |
| Wc bless thee for thy labourer, earthbom, great, | | Wc bless thee for thy labourer, earthbom, great, |
| The dumb, sublime, strong scytheman on fate's shore. | | The dumb, sublime, strong scytheman on fate's shore. |
| n | | n | @@PROCESS |
| 168 | | 168 |
| Thornycroft's model during the last three months of 1883 | | Thornycroft's model during the last three months of 1883 |
| was Orazio Cervi. An early plan seems to have been for him | | was Orazio Cervi. An early plan seems to have been for him |
| to wear a shirt and to support the scythe over his shoulder. | | to wear a shirt and to support the scythe over his shoulder. |
| The full-sized clay model was completed on 6 April 1884 and | | The full-sized clay model was completed on 6 April 1884 and |
| so the figure could be included, as a plaster cast, in the | | so the figure could be included, as a plaster cast, in the |
| Academy exhibition of th^at year where Gilbert's Jc¢7'.¢¢J | | Academy exhibition of th^at year where Gilbert's Jc¢7'.¢¢J |
| (No. 500) and Rodin's 4gr ¢'¢¢.„¢¢." (No. 304) were also | | (No. 500) and Rodin's 4gr ¢'¢¢.„¢¢." (No. 304) were also |
| shown. It was much praised. The exhibited plaster was cast | | shown. It was much praised. The exhibited plaster was cast |
| in bronze in 1894 and is in the Walker Art Gallery, Liverpool. | | in bronze in 1894 and is in the Walker Art Gallery, Liverpool. |
| A sketch model, 8 inches high, dated 1884, was cast in bronze | | A sketch model, 8 inches high, dated 1884, was cast in bronze |
| (but perhaps at a later date)-there is a version in the Walker | | (but perhaps at a later date)-there is a version in the Walker |
| Art Gallery, Liverpool. But the figure is most familiar as a | | Art Gallery, Liverpool. But the figure is most familiar as a |
| bronze reduction such as the example catalogued here. One | | bronze reduction such as the example catalogued here. One |
| such was shown at the Royal Academy in 1889. There are | | such was shown at the Royal Academy in 1889. There are |
| examples in the Tate Gallery (TO 3963), the Harris Art | | examples in the Tate Gallery (TO 3963), the Harris Art |
| Gallery, Prcston, and the National Museum of wales, Cardiff, | | Gallery, Prcston, and the National Museum of wales, Cardiff, |
| as well as the Ashmolean Museum. (See E. Manning, A4l¢7ib/c | | as well as the Ashmolean Museum. (See E. Manning, A4l¢7ib/c |
| and Bronze.. The Art and Life Of Huno Thormycroft (London | | and Bronze.. The Art and Life Of Huno Thormycroft (London |
| and Westfield,1982), 88, 91-2, 207.) | | and Westfield,1982), 88, 91-2, 207.) |
| In May of 1890 the S¢£"7:dry Rov¢.eta? recorded that | | In May of 1890 the S¢£"7:dry Rov¢.eta? recorded that |
| Thornycroft had issued a circular announcing a limited edition | | Thornycroft had issued a circular announcing a limited edition |
| of bronze reproductions of `two of his best known statues' | | of bronze reproductions of `two of his best known statues' |
| of which specimens with a variety of patinas could be viewed | | of which specimens with a variety of patinas could be viewed |
| at his studio in Kensington. The two statues are likely to have | | at his studio in Kensington. The two statues are likely to have |
| bccn the GG7¢c7i¢/ Go7¢o" (see No. 579) and 177c A4lo7pe7. The | | bccn the GG7¢c7i¢/ Go7¢o" (see No. 579) and 177c A4lo7pe7. The |
| Tate Gallery cast is incised in the model with 1888 and 1890 | | Tate Gallery cast is incised in the model with 1888 and 1890 |
| and so may well be one of the statuettes made at this time. | | and so may well be one of the statuettes made at this time. |
| It is also numbered 15 (on the upper face of the p.linth behind | | It is also numbered 15 (on the upper face of the p.linth behind |
| the figure). This must have been an attempt to bypass the | | the figure). This must have been an attempt to bypass the |
| West End dealers, and above all Arthur Leslic Collie, who in | | West End dealers, and above all Arthur Leslic Collie, who in |
| the previous year had `published', with great success, the 7 | | the previous year had `published', with great success, the 7 |
| small bronze Go%¢o», cast by I. W. Singer and Son (who had | | small bronze Go%¢o», cast by I. W. Singer and Son (who had |
| mastered lost-wax casting at their foundry by 1888). Edmund | | mastered lost-wax casting at their foundry by 1888). Edmund |
| Gosse in his article `Sculpture in the House', published in the | | Gosse in his article `Sculpture in the House', published in the |
| A4l¢g#z¢.#G a/A# in 1895, included a photograph of 777G | | A4l¢g#z¢.#G a/A# in 1895, included a photograph of 777G |
| 44lo7per on a marble chimney-piece surrounded by a typical | | 44lo7per on a marble chimney-piece surrounded by a typical |
| elaborate overmantel of the period adorned with plates and | | elaborate overmantel of the period adorned with plates and |
| vases by Arts and Crafts potters. (S. Beattie, 777c Nim7 Sc#/Pf#7G | | vases by Arts and Crafts potters. (S. Beattie, 777c Nim7 Sc#/Pf#7G |
| (New Haven, Conn., and I.ondon,1983),188-9.) Statuettes | | (New Haven, Conn., and I.ondon,1983),188-9.) Statuettes |
| of 777c A4lowG7 continued to be in demand; the date of 1920 | | of 777c A4lowG7 continued to be in demand; the date of 1920 |
| on the Ashmolean's bronze may indicate when the sculptor | | on the Ashmolean's bronze may indicate when the sculptor |
| decided to authorize a new edition-in this connection it is | | decided to authorize a new edition-in this connection it is |
| interesting that Mr Duncan James writing to Gerald Taylor | | interesting that Mr Duncan James writing to Gerald Taylor |
| on 10 July 1972 concerning bronzes in the Museum possibly | | on 10 July 1972 concerning bronzes in the Museum possibly |
| cast by the Singer foundry (by then the Morris Singer | | cast by the Singer foundry (by then the Morris Singer |
| Company of Basingstoke), of which he was writing an official | | Company of Basingstoke), of which he was writing an official |
| history, mentioned that he had evidence of two casts of I77c | | history, mentioned that he had evidence of two casts of I77c |
| A4:owey being cast by the firm in about 1924. Given that the | | A4:owey being cast by the firm in about 1924. Given that the |
| Ashmolean's bronze belonged to the sculptor himself it also | | Ashmolean's bronze belonged to the sculptor himself it also |
| provides good evidence of the patina which hc preferred. | | provides good evidence of the patina which hc preferred. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| Probably the foundry of J. W. Singer and Son, Frome, | | Probably the foundry of J. W. Singer and Son, Frome, |
| Somersct | | Somersct |
| After [WJliam] Hamo THORNYCROFT RA ( 1850-1925) | | After [WJliam] Hamo THORNYCROFT RA ( 1850-1925) |
| n | | n | @@PROCESS |
| 579. Major-General Charles | | 579. Major-General Charles |
| George Gordon | | George Gordon |
| 36.8 cms. (height including integral plinth); 2.2 cms. (height of | | 36.8 cms. (height including integral plinth); 2.2 cms. (height of |
| integral plinth); 12 cms. (length of plinth); 9.3 cms. (width of | | integral plinth); 12 cms. (length of plinth); 9.3 cms. (width of |
| plinth); 12.6 cms. (height of marble pedestal); 14.8 cms. (length | | plinth); 12.6 cms. (height of marble pedestal); 14.8 cms. (length |
| of marble pedestal); 12.8 cms. (width of marble pedestal) | | of marble pedestal); 12.8 cms. (width of marble pedestal) |
| Bronze with a very dark brown patina won to a paler brown in a | | Bronze with a very dark brown patina won to a paler brown in a |
| few salient areas. Hollow, sand-cast, in pieces. The divisions are not | | few salient areas. Hollow, sand-cast, in pieces. The divisions are not |
| visible but the interior of the plinth reveals that it was cast together | | visible but the interior of the plinth reveals that it was cast together |
| with the cannon but separately from the figure. `CHARLES GEORGE | | with the cannon but separately from the figure. `CHARLES GEORGE |
| GORDON' is chiselled on the front face of the plinth. `puBLlsHED By | | GORDON' is chiselled on the front face of the plinth. `puBLlsHED By |
| ARTHUR LESLIE COLLIE / 398 OLD BOND S'' LONDON MAT 6TH 1889' | | ARTHUR LESLIE COLLIE / 398 OLD BOND S'' LONDON MAT 6TH 1889' |
| is chiselled on the back face of the plinth. `HAMo THORNycROFT | | is chiselled on the back face of the plinth. `HAMo THORNycROFT |
| RA. /Sc.1888.' is chisclled on the upper naturalistic surface of the | | RA. /Sc.1888.' is chisclled on the upper naturalistic surface of the |
| plinth across the front proper right comer. The baton under the | | plinth across the front proper right comer. The baton under the |
| figure's left elbow is broken off short. The statue came with, but is | | figure's left elbow is broken off short. The statue came with, but is |
| not at present displayed upon, a livery russet-coloured marble | | not at present displayed upon, a livery russet-coloured marble |
| pedestal. | | pedestal. |
| Given by Mr D. F. W. Baden-Powell of Stone End, Hinksey, | | Given by Mr D. F. W. Baden-Powell of Stone End, Hinksey, |
| Oxfordshire, 1968. Registered 10 December. | | Oxfordshire, 1968. Registered 10 December. |
| Cordon is depicted in thought, a cannon ball behind him, his | | Cordon is depicted in thought, a cannon ball behind him, his |
| foot upon a shattered mortar, his hand on a prayer-book, a | | foot upon a shattered mortar, his hand on a prayer-book, a |
| baton under his arm, binoculars on his back: a man of vision | | baton under his arm, binoculars on his back: a man of vision |
| and high principle, `rcsolute, solitary, but not sad', on the | | and high principle, `rcsolute, solitary, but not sad', on the |
| field of battle. The statuette differs only in very small detals | | field of battle. The statuette differs only in very small detals |
| from the large bronze statue which was unveiled in Trafalgar | | from the large bronze statue which was unveiled in Trafalgar |
| Square on 16 October 1888 and was removed to the garden | | Square on 16 October 1888 and was removed to the garden |
| of the Thames Embankment after World War 11. Plans for | | of the Thames Embankment after World War 11. Plans for |
| this statue commenced soon after Gordon's death in January | | this statue commenced soon after Gordon's death in January |
| 1885; the commission was given to Thornycroft in August, | | 1885; the commission was given to Thornycroft in August, |
| hc had made a wax sketch model by January 1886, had | | hc had made a wax sketch model by January 1886, had |
| completed a quarter-sized clay model at the end of september | | completed a quarter-sized clay model at the end of september |
| 1886, and was working on the full-sized model throughout | | 1886, and was working on the full-sized model throughout |
| the first half of 1887. The bronze casting took place in | | the first half of 1887. The bronze casting took place in |
| October (E. Maming, Marble and Bronz,e: The Art and Life | | October (E. Maming, Marble and Bronz,e: The Art and Life |
| a/Hfli7ceo T77o7'7eycro/i ( I,ondon and Wcstfield, 1982 ), 1034, | | a/Hfli7ceo T77o7'7eycro/i ( I,ondon and Wcstfield, 1982 ), 1034, |
| n | | n | @@PROCESS |
| 107-9, 202-3; S. Beattie, 7%c Nei?7 Sc#/P£"„c (New Haven, | | 107-9, 202-3; S. Beattie, 7%c Nei?7 Sc#/P£"„c (New Haven, |
| Conn., and I.ondon,1983), 203-5). | | Conn., and I.ondon,1983), 203-5). |
| Statuettes like the one in the Ashmolcan are not | | Statuettes like the one in the Ashmolcan are not |
| uncommon. See for example lot 99 at Christie's, London, | | uncommon. See for example lot 99 at Christie's, London, |
| 24 September 1987; lot 127 at Phillips, I.ondon, I March | | 24 September 1987; lot 127 at Phillips, I.ondon, I March |
| 1988; and lot 84 at Sothcby's, I.ondon, 28 April 1989. | | 1988; and lot 84 at Sothcby's, I.ondon, 28 April 1989. |
| According to Manning (op. cit.), Thornycroft sold the | | According to Manning (op. cit.), Thornycroft sold the |
| copyright to Arthur Conic in January of 1889 for £50 and | | copyright to Arthur Conic in January of 1889 for £50 and |
| one-fifth of the net profits, but there was a separate edition | | one-fifth of the net profits, but there was a separate edition |
| of half a dozen sold by John Smith. This latter arrangement | | of half a dozen sold by John Smith. This latter arrangement |
| probably explains the unmarked versions of the statucttc such | | probably explains the unmarked versions of the statucttc such |
| as that exhibited at the Br¢.£?.j4 Sc#/Pf#7c exhibition of the | | as that exhibited at the Br¢.£?.j4 Sc#/Pf#7c exhibition of the |
| Fine Art Society in 1968 (as no.167). Susan Bcattie (op. cit.) | | Fine Art Society in 1968 (as no.167). Susan Bcattie (op. cit.) |
| points out that Collie exhibited three of the statuettes at the | | points out that Collie exhibited three of the statuettes at the |
| Arts and Crafts Society exhibition in 1891 with a statuette of | | Arts and Crafts Society exhibition in 1891 with a statuette of |
| John Bright as a companion piece, and also points out that | | John Bright as a companion piece, and also points out that |
| n | | n | @@PROCESS |
| 170 | | 170 |
| an article of 1892 in the Po7tyro/G.a claims that the casting was | | an article of 1892 in the Po7tyro/G.a claims that the casting was |
| by the firm of singer and Son of Frome. Statuettes of Bright | | by the firm of singer and Son of Frome. Statuettes of Bright |
| and Gordon are shown together on bookshelves with | | and Gordon are shown together on bookshelves with |
| mezzotints after Joshua Reynolds ( such prints wcrc newly | | mezzotints after Joshua Reynolds ( such prints wcrc newly |
| returned to fashion) in an article on small domestic bronzes | | returned to fashion) in an article on small domestic bronzes |
| by Edmund Gosse in A4l¢g¢2;¢."c a/A7¢ ( 1895), 368 | | by Edmund Gosse in A4l¢g¢2;¢."c a/A7¢ ( 1895), 368 |
| (reproduced by Beattic, op. cit. 191). | | (reproduced by Beattic, op. cit. 191). |
| Although Thornycroft became interested in lost-wax | | Although Thornycroft became interested in lost-wax |
| casting at the period in which he made this statuette, and | | casting at the period in which he made this statuette, and |
| although Singer and Son had new fachities for this process, | | although Singer and Son had new fachities for this process, |
| the Go7ide# statuettes were sand-cast. It was not the first | | the Go7ide# statuettes were sand-cast. It was not the first |
| work by Thornycroft to be produced in a large edition on a | | work by Thornycroft to be produced in a large edition on a |
| small scale by this means. His W¢7'7i¢.o7 ¢#¢ ¢ Wo#"¢Gd ro#£fo, | | small scale by this means. His W¢7'7i¢.o7 ¢#¢ ¢ Wo#"¢Gd ro#£fo, |
| which won a gold medal at the Royal Academy in 1875, was | | which won a gold medal at the Royal Academy in 1875, was |
| cast later in an edition by J. A. Hatfield for the Art Union of | | cast later in an edition by J. A. Hatfield for the Art Union of |
| I.ondon (rights wcrc obtained in 1876 but the example which | | I.ondon (rights wcrc obtained in 1876 but the example which |
| was lot 37 at Sotheby's, Ijondon, 26 November 1986, was | | was lot 37 at Sotheby's, Ijondon, 26 November 1986, was |
| dated 1879) and `Drew and Co.' also signed some small | | dated 1879) and `Drew and Co.' also signed some small |
| bronzes of this group (for instance lot 82 at Sotheby's, | | bronzes of this group (for instance lot 82 at Sotheby's, |
| Ijondon, 4 November l988)-Drew and Co having taken | | Ijondon, 4 November l988)-Drew and Co having taken |
| over the management of Cox and Sons' foundry at Thames | | over the management of Cox and Sons' foundry at Thames |
| Ditton (established 1874) shortly before it was taken over by | | Ditton (established 1874) shortly before it was taken over by |
| James Moore. | | James Moore. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| | | @@PROCESS |
| 171 | | 171 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Perhaps the firm of Domenico Brucciani and Sons | | Perhaps the firm of Domenico Brucciani and Sons |
| After Pictro TORRIGIANO ( 1472-1528) | | After Pictro TORRIGIANO ( 1472-1528) |
| n | | n | @@PROCESS |
| 580 and 581. Pair of ornamental | | 580 and 581. Pair of ornamental |
| pilasters | | pilasters |
| 80.4 cms. (height of both pilasters); 21 cms. (length and width | | 80.4 cms. (height of both pilasters); 21 cms. (length and width |
| of both pilasters) | | of both pilasters) |
| Plaster of Paris, with considerable ingrained dirt. Hollow cast with | | Plaster of Paris, with considerable ingrained dirt. Hollow cast with |
| no visible seams. There are many chips missing at the edges but | | no visible seams. There are many chips missing at the edges but |
| only a few to the ornamental relief. Some cement adheres to the | | only a few to the ornamental relief. Some cement adheres to the |
| base of both pilasters. | | base of both pilasters. |
| Provenance uncertain but there may bc a connection with the `two | | Provenance uncertain but there may bc a connection with the `two |
| square columns of white marble finely sculptured, temp. Hen. VIII' | | square columns of white marble finely sculptured, temp. Hen. VIII' |
| which were no. 485 on p. 146 of the C¢£#/og#e a/£4e 4r47eeo/G¢„ | | which were no. 485 on p. 146 of the C¢£#/og#e a/£4e 4r47eeo/G¢„ |
| il4l#fc#ow of 1836 but were sent back to I.ondon to restore Henry | | il4l#fc#ow of 1836 but were sent back to I.ondon to restore Henry |
| VII's altar in Westminster Abbey by order of the Vice-Chancellor | | VII's altar in Westminster Abbey by order of the Vice-Chancellor |
| on 20 March 1880. | | on 20 March 1880. |
| The pilasters are cast from two marble oncs closely copied | | The pilasters are cast from two marble oncs closely copied |
| from two of the four bronze ones at the corners of the | | from two of the four bronze ones at the corners of the |
| sarcophagus upon which repose the bronze cffiSes of King | | sarcophagus upon which repose the bronze cffiSes of King |
| Henry VII and his queen executed between 1512 and 1518 | | Henry VII and his queen executed between 1512 and 1518 |
| by Pietro Torridano for Henry VII's chapel in Westminster | | by Pietro Torridano for Henry VII's chapel in Westminster |
| Abbey. Casts of these pilasters are found in Brucciani's | | Abbey. Casts of these pilasters are found in Brucciani's |
| Catalogtte Of Casts fior Schools which the Board of Edttcation | | Catalogtte Of Casts fior Schools which the Board of Edttcation |
| Considers Sttitable for Schools and Classes Receiving Grants | | Considers Sttitable for Schools and Classes Receiving Grants |
| jio7» ¢.i (I.ondon, undated but before 1906 and probably | | jio7» ¢.i (I.ondon, undated but before 1906 and probably |
| about 1903), mos. 2306-7. | | about 1903), mos. 2306-7. |
| n | | n | @@PROCESS |
| 172 | | 172 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Foundry of Alessandro Parlanti, Parson's Green, Fulham | | Foundry of Alessandro Parlanti, Parson's Green, Fulham |
| After Alfred TURNER ( 1874-1940) | | After Alfred TURNER ( 1874-1940) |
| n | | n | @@PROCESS |
| 582. Peace | | 582. Peace |
| 30.5 cms. (height including integral plinth); 17 cms. (length of | | 30.5 cms. (height including integral plinth); 17 cms. (length of |
| integral plinth); 12.2 cms. (width of integral plinth) | | integral plinth); 12.2 cms. (width of integral plinth) |
| Bronze with a dark brown patina, golden brown in the more salient | | Bronze with a dark brown patina, golden brown in the more salient |
| parts. Hollow, lost-wax, cast. | | parts. Hollow, lost-wax, cast. |
| Given by the sculptor's daughter, Jessica Tuner of 44 Munster | | Given by the sculptor's daughter, Jessica Tuner of 44 Munster |
| Road, Fulham, after the exhibition of the work ofAlfred and | | Road, Fulham, after the exhibition of the work ofAlfred and |
| Winifred Turner held at the Ashmolean Museum, Oxford, 21 June- | | Winifred Turner held at the Ashmolean Museum, Oxford, 21 June- |
| 20 October 1988, through the National Art-Collections Fund. | | 20 October 1988, through the National Art-Collections Fund. |
| The bronze was exhibited at the Royal Academy in 1914 | | The bronze was exhibited at the Royal Academy in 1914 |
| (no. 2131, `Peace---Statuette'). The sculptor's daughter, the | | (no. 2131, `Peace---Statuette'). The sculptor's daughter, the |
| donor, informs me that the statuette was connected with a | | donor, informs me that the statuette was connected with a |
| commission for a public statue and it features in an old | | commission for a public statue and it features in an old |
| photograph placed by her in the Tate Gallery archive as part | | photograph placed by her in the Tate Gallery archive as part |
| ofamaquctteforaprojectedmonuinenttoKingEdwardVII. | | ofamaquctteforaprojectedmonuinenttoKingEdwardVII. |
| The monarch was represented standing in front of the plinth | | The monarch was represented standing in front of the plinth |
| with this figure seated against one side of it (to his left) and | | with this figure seated against one side of it (to his left) and |
| another female personification, probably Justice (she holds a | | another female personification, probably Justice (she holds a |
| balance and sword), seated against the other, with a lively | | balance and sword), seated against the other, with a lively |
| St George on top of a globe crowning the top. If this | | St George on top of a globe crowning the top. If this |
| monument was actually erected it is curious that there is no | | monument was actually erected it is curious that there is no |
| mention of it in the newspaper profiles of Tuner. Tuner was | | mention of it in the newspaper profiles of Tuner. Tuner was |
| in1914atthehcightofhispowerandreputation.Thestatuette | | in1914atthehcightofhispowerandreputation.Thestatuette |
| isinverymuchthesamestyleashisbronzegroupofMatcrnity | | isinverymuchthesamestyleashisbronzegroupofMatcrnity |
| of the Queen Victoria Memorial in Sheffield, completed ten | | of the Queen Victoria Memorial in Sheffield, completed ten |
| years before. There is an account of his life and work in the | | years before. There is an account of his life and work in the |
| catalogue of the exhibition at the Ashmolean Museuni | | catalogue of the exhibition at the Ashmolean Museuni |
| mentioned above (pp. 7-32). | | mentioned above (pp. 7-32). |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Winifrcd TURNER ( 1903-83) | | Winifrcd TURNER ( 1903-83) |
| n | | n | @@PROCESS |
| 583. Reclining woman with child | | 583. Reclining woman with child |
| 30 cms. (height); 52 cms. (length) | | 30 cms. (height); 52 cms. (length) |
| Teracotta of a rich orange colour. Incised `Winifred Turncr' by the | | Teracotta of a rich orange colour. Incised `Winifred Turncr' by the |
| feet. An old break in the comer of the mattress plinth behind the | | feet. An old break in the comer of the mattress plinth behind the |
| woman's right arm has been repaired. | | woman's right arm has been repaired. |
| Given by the sculptor's elder sister, Jessica Tuner of 44 Munster | | Given by the sculptor's elder sister, Jessica Tuner of 44 Munster |
| Road, Fulham, after the exhibition of the work of Alfred and | | Road, Fulham, after the exhibition of the work of Alfred and |
| Winifred Turner held at the Ashmolcan Museum, Oxford, 21 June- | | Winifred Turner held at the Ashmolcan Museum, Oxford, 21 June- |
| 2 October 1988, through the National Art-Collections Fund. | | 2 October 1988, through the National Art-Collections Fund. |
| The statucttc is similar in style to sculpture which Winifrcd | | The statucttc is similar in style to sculpture which Winifrcd |
| Turner exhibited in the mid-1930s such as 777o„g4f, | | Turner exhibited in the mid-1930s such as 777o„g4f, |
| completed by 1933 (Tatc Gallery), or Tty¢./¢j¢f, exhibited | | completed by 1933 (Tatc Gallery), or Tty¢./¢j¢f, exhibited |
| 1936 (untraced but reproduced in Ray¢/ Ac¢deny I:##J£"fli£G¢ | | 1936 (untraced but reproduced in Ray¢/ Ac¢deny I:##J£"fli£G¢ |
| for that year). Comparable works of this size were included | | for that year). Comparable works of this size were included |
| in the exhibition at the Ashmolean Museum mentioned above | | in the exhibition at the Ashmolean Museum mentioned above |
| where there is also an account of the sculptor's life and work | | where there is also an account of the sculptor's life and work |
| (pp. 32-9). | | (pp. 32-9). |
| n | | n | @@PROCESS |
| 174 | | 174 |
| Ursula TYRWIIITT ( 1872-1966) | | Ursula TYRWIIITT ( 1872-1966) |
| n | | n | @@PROCESS |
| 584. Head of Gwen John | | 584. Head of Gwen John |
| 25.7cms. (height); 18cms. (length) | | 25.7cms. (height); 18cms. (length) |
| Terracotta of a pale beige colour. Mounted on a soft wood block | | Terracotta of a pale beige colour. Mounted on a soft wood block |
| covered with mustard yellow velvet. There is a small aperture behind | | covered with mustard yellow velvet. There is a small aperture behind |
| the head. The head is hollow but plugged with clay at the neck after | | the head. The head is hollow but plugged with clay at the neck after |
| modelling. In this plug a rectangular hole has been made for a peg. | | modelling. In this plug a rectangular hole has been made for a peg. |
| Given by the artist in 1965. ReSstered on 25 June | | Given by the artist in 1965. ReSstered on 25 June |
| The head is said to have been modelled in about 1907. Gwen | | The head is said to have been modelled in about 1907. Gwen |
| John was then one of Rodin's models in Paris and Tyrwhitt, | | John was then one of Rodin's models in Paris and Tyrwhitt, |
| who had become a close friend of Gwen John and her brother | | who had become a close friend of Gwen John and her brother |
| at the Sladc in the l890s, was studying at the Atelier Colarossi | | at the Sladc in the l890s, was studying at the Atelier Colarossi |
| there. Rodin was prevailed upon to look at the bust and is | | there. Rodin was prevailed upon to look at the bust and is |
| said to have remarked `continuez'. It was Tyrwhitt's only | | said to have remarked `continuez'. It was Tyrwhitt's only |
| effort as a sculptor, however, and she was chiefly a painter in | | effort as a sculptor, however, and she was chiefly a painter in |
| oils and watercolour. She gave the Museum drawings by both | | oils and watercolour. She gave the Museum drawings by both |
| Augustus and Gwen John in 1964 and 1966, together with | | Augustus and Gwen John in 1964 and 1966, together with |
| drawings and paintings by Wilson Steer, Stanley Spencer, and | | drawings and paintings by Wilson Steer, Stanley Spencer, and |
| others. A misleading note in the Register dates the head to | | others. A misleading note in the Register dates the head to |
| 1921. A reminiscence of the artist by Richard Buckle is | | 1921. A reminiscence of the artist by Richard Buckle is |
| published in the catalogue of the exhibition Urf#/¢ I)i7ia?¢z.#.. | | published in the catalogue of the exhibition Urf#/¢ I)i7ia?¢z.#.. |
| O#o"¢ P¢¢.„}Gr ¢7¢d Co//Gcfor held at the Ashmolean Museum | | O#o"¢ P¢¢.„}Gr ¢7¢d Co//Gcfor held at the Ashmolean Museum |
| October-November 1974 (in which the head was no. 49). | | October-November 1974 (in which the head was no. 49). |
| Mrs Tyrwhitt lived for many years at 225 Iffley Road, Oxford. | | Mrs Tyrwhitt lived for many years at 225 Iffley Road, Oxford. |
| Her husband, Walter Tyrwhitt, was a second cousin and his | | Her husband, Walter Tyrwhitt, was a second cousin and his |
| branch of the fandly had been long settled in Oxford. The | | branch of the fandly had been long settled in Oxford. The |
| head seems to have been valued by the artist and was included | | head seems to have been valued by the artist and was included |
| in the Gwen John Memorial Exhibition at the Matthiesen | | in the Gwen John Memorial Exhibition at the Matthiesen |
| Gauery, New Bond St, in 1946. | | Gauery, New Bond St, in 1946. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Factory of )osiali WEDGWOOD ( 1730-95) | | Factory of )osiali WEDGWOOD ( 1730-95) |
| Probably after models by Henry Webbcr ( 1754-1826) | | Probably after models by Henry Webbcr ( 1754-1826) |
| n | | n | @@PROCESS |
| 585 and 586. Pair of `bouquetiers' | | 585 and 586. Pair of `bouquetiers' |
| in the form of sarcophagi rising | | in the form of sarcophagi rising |
| from banks upon which figures of | | from banks upon which figures of |
| Zephyr (585) and Flora (586) | | Zephyr (585) and Flora (586) |
| recline, leaning against urns | | recline, leaning against urns |
| 14.9 cms. (height of 585); 21.I cms. (length of 585); 12.5 cms. | | 14.9 cms. (height of 585); 21.I cms. (length of 585); 12.5 cms. |
| (width of 585); 15 cms. (height of 586); 20.3 cms. (length of | | (width of 585); 15 cms. (height of 586); 20.3 cms. (length of |
| n | | n | @@PROCESS |
| 586); 12.I cms. (width of 586) | | 586); 12.I cms. (width of 586) |
| `Jasper ware' (fine hard stoneware, both pure white and stained). | | `Jasper ware' (fine hard stoneware, both pure white and stained). |
| The figures and the ornaments are white, the rest the distinctive | | The figures and the ornaments are white, the rest the distinctive |
| pale blue associated with Wedgwood. The banks, the sarcophagi, | | pale blue associated with Wedgwood. The banks, the sarcophagi, |
| and their plinths seem to have been cast as one hollow unit from | | and their plinths seem to have been cast as one hollow unit from |
| the sane mould in both 585 and 586. A platform was then fixed | | the sane mould in both 585 and 586. A platform was then fixed |
| below and other elements-the figures (cast from a piece-mould), | | below and other elements-the figures (cast from a piece-mould), |
| the uns, and the semi-transparent ornaments on the uns and | | the uns, and the semi-transparent ornaments on the uns and |
| sarcophad and leaves on the banks (the fomer from moulds, the | | sarcophad and leaves on the banks (the fomer from moulds, the |
| latter freely modelled)-were added before firing. The figures are | | latter freely modelled)-were added before firing. The figures are |
| hollow as can be seen if Zephyr is examined from behind. In the case | | hollow as can be seen if Zephyr is examined from behind. In the case |
| of 585 there are some losses on the thin leaves appred to the bank, | | of 585 there are some losses on the thin leaves appred to the bank, |
| and tiny cracks in the drapery by the side of the figure's left thigh, | | and tiny cracks in the drapery by the side of the figure's left thigh, |
| a chip missing from the top of the urn, and a minute one from one | | a chip missing from the top of the urn, and a minute one from one |
| corner of the top of the sarcophagus. In the case of 586 there are | | corner of the top of the sarcophagus. In the case of 586 there are |
| tiny chips missing from the edge of the sarcophagus and minute | | tiny chips missing from the edge of the sarcophagus and minute |
| firing cracks at the junction of the figure's right arm and her drapery | | firing cracks at the junction of the figure's right arm and her drapery |
| and on the ledge beside her left arm. There are slight flaws in the | | and on the ledge beside her left arm. There are slight flaws in the |
| casting of the figure's right foot distorting the distance between her | | casting of the figure's right foot distorting the distance between her |
| largest toes and also the shape of her smallest toe. `WEDGwooD' is | | largest toes and also the shape of her smallest toe. `WEDGwooD' is |
| impressed on the underside of both 594 and 595. | | impressed on the underside of both 594 and 595. |
| Bequeathed by C. D. E. Fortnum in 1899. C. 289 and C. 290 in his | | Bequeathed by C. D. E. Fortnum in 1899. C. 289 and C. 290 in his |
| large manuscript catalogue. These items, together with a blue and | | large manuscript catalogue. These items, together with a blue and |
| white cup and saucer (C. 291-2), `and other pieces of that same | | white cup and saucer (C. 291-2), `and other pieces of that same |
| servicethreevasesandotherswereinapalaceatForh'andpurchascd, | | servicethreevasesandotherswereinapalaceatForh'andpurchascd, |
| after, by me'. No date is given for the purchase but it is likely to | | after, by me'. No date is given for the purchase but it is likely to |
| have been in 1880 or shortly before. It is not included in the | | have been in 1880 or shortly before. It is not included in the |
| notebook catalogue compiled in the 1870s and is a lower number | | notebook catalogue compiled in the 1870s and is a lower number |
| than C. 297 which was a piece ofwedgwood acquired in 1880. | | than C. 297 which was a piece ofwedgwood acquired in 1880. |
| Fortnun described these pieces as `jardinieres or crocus vases' | | Fortnun described these pieces as `jardinieres or crocus vases' |
| but they are more likely to have been `bough pots' or | | but they are more likely to have been `bough pots' or |
| `bouquetiers' (Wedgwood's terms) for the display of cut | | `bouquetiers' (Wedgwood's terms) for the display of cut |
| flowers. Water could easily be poured in and out through the | | flowers. Water could easily be poured in and out through the |
| Hms beside the figures but it would be hard to introduce, and | | Hms beside the figures but it would be hard to introduce, and |
| mpossible to remove, soil such as jardiniercs require. | | mpossible to remove, soil such as jardiniercs require. |
| Fortnum in his large catalogue understandably identified the | | Fortnum in his large catalogue understandably identified the |
| figures as `Cupid' and `? Psyche' but C. F. Ben altered this | | figures as `Cupid' and `? Psyche' but C. F. Ben altered this |
| to read `Zephyrus' and `Flora', surely correctly. The female | | to read `Zephyrus' and `Flora', surely correctly. The female |
| figure is identified as Psyche in the versions in green and | | figure is identified as Psyche in the versions in green and |
| white and blue and white jasper in the conection of Arthur | | white and blue and white jasper in the conection of Arthur |
| Sanderson (F. RIthbone, A C¢£¢/og#c a/¢ Co//Gcffo% . . . | | Sanderson (F. RIthbone, A C¢£¢/og#c a/¢ Co//Gcffo% . . . |
| (Ijondon, 1903), 45, nos.105, 106). iinother blue and white | | (Ijondon, 1903), 45, nos.105, 106). iinother blue and white |
| version in inferior condition is in the Buten Muscun of | | version in inferior condition is in the Buten Muscun of |
| Wedgwood, Merion, Pennsylvania (H. M. Butcn, WGdgrwood | | Wedgwood, Merion, Pennsylvania (H. M. Butcn, WGdgrwood |
| R¢%.£¢.cf (Merion, 1969), 193, no. 3555). Versions have been | | R¢%.£¢.cf (Merion, 1969), 193, no. 3555). Versions have been |
| dated 1780 and 1790 (Rathbone, op. cit.). Robin Rcilly | | dated 1780 and 1790 (Rathbone, op. cit.). Robin Rcilly |
| informs mc that he has found no record of these pieces either | | informs mc that he has found no record of these pieces either |
| in early catalogues or in manuscript records and notes that | | in early catalogues or in manuscript records and notes that |
| they arc very rare. Hc considers it likely that they were first | | they arc very rare. Hc considers it likely that they were first |
| produced c.1790-5. They have been attributed both to Henry | | produced c.1790-5. They have been attributed both to Henry |
| Webber and to John Flaxman, but the style would be unusual | | Webber and to John Flaxman, but the style would be unusual |
| for the latter. Webber was the son of a Swiss sculptor and a | | for the latter. Webber was the son of a Swiss sculptor and a |
| pupil of John Bacon. Hc was active as a modeller in wax and | | pupil of John Bacon. Hc was active as a modeller in wax and |
| his first exhibit at the Royal Academy in 1775 was in this | | his first exhibit at the Royal Academy in 1775 was in this |
| medium. In 1784 he entered into a seven-year contract with | | medium. In 1784 he entered into a seven-year contract with |
| WedgwoodasamodcllerontherccommendationofReynolds | | WedgwoodasamodcllerontherccommendationofReynolds |
| and Chambers and he travelled to Rome and sent work back | | and Chambers and he travelled to Rome and sent work back |
| from there. His only large-scale work in marble is the | | from there. His only large-scale work in marble is the |
| monument to David Garrick in Westminster Abbey dated | | monument to David Garrick in Westminster Abbey dated |
| 1797 in which the drapery folds are relatively smaller, and | | 1797 in which the drapery folds are relatively smaller, and |
| more repeated, than in these figurincslloser in style to | | more repeated, than in these figurincslloser in style to |
| Bacon. | | Bacon. |
| Fortnum was not a keen collector of British ceramics as he | | Fortnum was not a keen collector of British ceramics as he |
| was of Italian Renaissance ones, but he liked to have samples | | was of Italian Renaissance ones, but he liked to have samples |
| of all major factories and bodies. Significantly these items were | | of all major factories and bodies. Significantly these items were |
| notacquiredinBritain,whercWedgwoodwaskeenlycollected | | notacquiredinBritain,whercWedgwoodwaskeenlycollected |
| by others, but in Italy. These `Bouquetiers' and some other | | by others, but in Italy. These `Bouquetiers' and some other |
| pieces were, it seems, picked up by him in Ford' (where he | | pieces were, it seems, picked up by him in Ford' (where he |
| rfught wen have been looking for mar'olica); a Wedgwood | | rfught wen have been looking for mar'olica); a Wedgwood |
| scent bottle (C. 297) was given to his wife by Alessandro | | scent bottle (C. 297) was given to his wife by Alessandro |
| Castcllani in Rome in 1880. | | Castcllani in Rome in 1880. |
| n | | n | @@PROCESS |
| 175 | | 175 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| BRITISH SCULPTURES, BY ARTIST'S NAME | | |
| | | @@PROCESS |
| 176 | | 176 |
| Henry WEEKES RA ( 1807-77) | | Henry WEEKES RA ( 1807-77) |
| n | | n | @@PROCESS |
| 587. Bust portrait of an unknown | | 587. Bust portrait of an unknown |
| man | | man |
| 79.5 cms. (height including socle); 49 cms. (width); 13 cms. | | 79.5 cms. (height including socle); 49 cms. (width); 13 cms. |
| (height of socle) | | (height of socle) |
| Plaster of Paris, coloured irregularly yellow-grey with spots of white | | Plaster of Paris, coloured irregularly yellow-grey with spots of white |
| revealed in parts where scratched or worn. Thick hollow cast. No | | revealed in parts where scratched or worn. Thick hollow cast. No |
| seams are visible. The socle is broken and a large portion is missing. | | seams are visible. The socle is broken and a large portion is missing. |
| `H. WEEKES. SC.' is incised across the flat back of the bust. A paper | | `H. WEEKES. SC.' is incised across the flat back of the bust. A paper |
| label was formerly attached to the chest printed with the numerals | | label was formerly attached to the chest printed with the numerals |
| n | | n | @@PROCESS |
| 182. | | 182. |
| Given by Mrs Austin Imgland of Clanfield House, Abingdon, in | | Given by Mrs Austin Imgland of Clanfield House, Abingdon, in |
| 1973. ReSstered 3 May. | | 1973. ReSstered 3 May. |
| A portrait of this type, with the generalized treatment of heavy | | A portrait of this type, with the generalized treatment of heavy |
| drapery in the manner of Chantrey, for whom Wcckes worked | | drapery in the manner of Chantrey, for whom Wcckes worked |
| as assistant and whose studio he took over in 1841, is hard | | as assistant and whose studio he took over in 1841, is hard |
| to date but is most characteristic of weekes during the 1830s | | to date but is most characteristic of weekes during the 1830s |
| before he strove to achieve a more independent manner. | | before he strove to achieve a more independent manner. |
| n | | n | @@PROCESS |
| 177 | | 177 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Sir RIchard WESTMACOTT RA ( 1775-1856) | | Sir RIchard WESTMACOTT RA ( 1775-1856) |
| n | | n | @@PROCESS |
| 588. Hindu girl (fragment) | | 588. Hindu girl (fragment) |
| 32.5 cms (height); 41 cms. (length) | | 32.5 cms (height); 41 cms. (length) |
| Plaster of Paris, painted with a creamy stone colour. Hollow cast | | Plaster of Paris, painted with a creamy stone colour. Hollow cast |
| from a piece-mould with numerous vestigial seams rcmalning. The | | from a piece-mould with numerous vestigial seams rcmalning. The |
| work is sawn across the upper chest. The sculpture was cleaned and | | work is sawn across the upper chest. The sculpture was cleaned and |
| restored in 1987 by Miss Rachel Kenward. A patch of cracked | | restored in 1987 by Miss Rachel Kenward. A patch of cracked |
| plaster across the front of the chest and a dent in the chin and the | | plaster across the front of the chest and a dent in the chin and the |
| recently drilled-out eyes were repaired and painted to match the | | recently drilled-out eyes were repaired and painted to match the |
| rest of the bust. | | rest of the bust. |
| Given to the University Galleries by the sculptor in 1851 (see | | Given to the University Galleries by the sculptor in 1851 (see |
| Preliminary Essay 2). According to the H¢7?d4oo4 G#;dc of 1859 it | | Preliminary Essay 2). According to the H¢7?d4oo4 G#;dc of 1859 it |
| was on display at the west end of the principal sculpture gallery (the | | was on display at the west end of the principal sculpture gallery (the |
| Randolph Gallery) companion with a Brahmin also by Westmacott. | | Randolph Gallery) companion with a Brahmin also by Westmacott. |
| It was still there in 1865 but was probably removed in the l880s | | It was still there in 1865 but was probably removed in the l880s |
| and has been in store during the whole of this century. It was sawn | | and has been in store during the whole of this century. It was sawn |
| up in 1939. | | up in 1939. |
| Wcstmacott's monument to Alcxandcr Colvin is in St John's, | | Wcstmacott's monument to Alcxandcr Colvin is in St John's, |
| the old Cathedral of Calcutta. It consists of a high refief of | | the old Cathedral of Calcutta. It consists of a high refief of |
| two female personifications-Commerce with a caduceus and | | two female personifications-Commerce with a caduceus and |
| Industry with a beehive-seated in an embrace above a | | Industry with a beehive-seated in an embrace above a |
| sarcophagus which is inscribed `To the memory of/ Alexander | | sarcophagus which is inscribed `To the memory of/ Alexander |
| Colvin. / This tablet is inscribed by/ The Merchants of | | Colvin. / This tablet is inscribed by/ The Merchants of |
| Calcutta, / Who having for forty years witnessed in him / An | | Calcutta, / Who having for forty years witnessed in him / An |
| union of those talents and virtues / Which best adorn their | | union of those talents and virtues / Which best adorn their |
| profession / Do most honor to a character in private | | profession / Do most honor to a character in private |
| life / Thus record / Their affectionate esteem for him whilst | | life / Thus record / Their affectionate esteem for him whilst |
| living, / And their sorrow for his death. / Born IIIrd APRIL | | living, / And their sorrow for his death. / Born IIIrd APRIL |
| n | | n | @@PROCESS |
| 178 | | 178 |
| A.D. MDCCLVI. / Died XVI DECEMR A.D. | | A.D. MDCCLVI. / Died XVI DECEMR A.D. |
| MDCCCXVIII.' On a ledge in front of the sarcophagus to | | MDCCCXVIII.' On a ledge in front of the sarcophagus to |
| the bcholder's left is crouched a Hindu girl on a mat with | | the bcholder's left is crouched a Hindu girl on a mat with |
| her right hand upon her raised left knee and her other upon | | her right hand upon her raised left knee and her other upon |
| a water jar, her pensive expression indicating her grief at the | | a water jar, her pensive expression indicating her grief at the |
| loss of her benefactor. | | loss of her benefactor. |
| The monument is dated 1821 (and was therefore | | The monument is dated 1821 (and was therefore |
| completed, but not necessarily erected, by then). Westmacott | | completed, but not necessarily erected, by then). Westmacott |
| exhibited this figure at the Royal Academy in that year | | exhibited this figure at the Royal Academy in that year |
| (no.1085, `A Hindoo girl; a statue in marble being pall of | | (no.1085, `A Hindoo girl; a statue in marble being pall of |
| a monument to be erected in memory of Alexander Colvin, | | a monument to be erected in memory of Alexander Colvin, |
| Esq.'). The idea of exhibiting a separate pathetic figure from | | Esq.'). The idea of exhibiting a separate pathetic figure from |
| a monument at the Royal Academy exhibition can be traced | | a monument at the Royal Academy exhibition can be traced |
| back to 1815 when Wcstmacott showed the kneeling negro | | back to 1815 when Wcstmacott showed the kneeling negro |
| slave from his monument to Charles James Fox made for | | slave from his monument to Charles James Fox made for |
| Westminster Abbey. In 1819 he exhibited a mourning | | Westminster Abbey. In 1819 he exhibited a mourning |
| `Pcasant Girl' from his monument to Ijord Penrhyn at | | `Pcasant Girl' from his monument to Ijord Penrhyn at |
| Llandcgai in North Wales (for which see N. 8. I'enny, C¢#grc¢ | | Llandcgai in North Wales (for which see N. 8. I'enny, C¢#grc¢ |
| Monttments in Romantic England (Now HZNen, Corin., and | | Monttments in Romantic England (Now HZNen, Corin., and |
| I.ondon,1977),189-92). The success of these may have | | I.ondon,1977),189-92). The success of these may have |
| emboldened him to create his Ho#Jc/cJf £7i¢77c//c7', an | | emboldened him to create his Ho#Jc/cJf £7i¢77c//c7', an |
| independent figure which although designed as a monument | | independent figure which although designed as a monument |
| was, significantly, purchased as a gallery piece (for Bowood | | was, significantly, purchased as a gallery piece (for Bowood |
| by the earl of Lansdowne) when exhibited at the Academy | | by the earl of Lansdowne) when exhibited at the Academy |
| in 1822. The `Brahmin' and `Mussulman Moulah' from his | | in 1822. The `Brahmin' and `Mussulman Moulah' from his |
| monument to Warren Hastings in Calcutta which | | monument to Warren Hastings in Calcutta which |
| Westmacott exhibited in 1829 owed something to the II¢.#d" | | Westmacott exhibited in 1829 owed something to the II¢.#d" |
| g¢.71/ of 1821, whose significance had, however, never been as | | g¢.71/ of 1821, whose significance had, however, never been as |
| precise as these. | | precise as these. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Sir Richard WESTMACOTT RA ( 1775-1856) | | Sir Richard WESTMACOTT RA ( 1775-1856) |
| n | | n | @@PROCESS |
| 589. Trial of socrates | | 589. Trial of socrates |
| 76.5 cms. (height); 128 cms. (length) | | 76.5 cms. (height); 128 cms. (length) |
| Plaster of Paris, palntcd a creamy stone colour. The paint is | | Plaster of Paris, palntcd a creamy stone colour. The paint is |
| extensively flaking especially on the podium and the figures of the | | extensively flaking especially on the podium and the figures of the |
| judges and above the head of socrates. There are numerous small | | judges and above the head of socrates. There are numerous small |
| scratches and losses and chips are missing from the cloak of the | | scratches and losses and chips are missing from the cloak of the |
| figure leaning on a staff, from the top left corner, and from the | | figure leaning on a staff, from the top left corner, and from the |
| projecting front ledge | | projecting front ledge |
| Given to the University Galleries by the sculptor in 1851 (see | | Given to the University Galleries by the sculptor in 1851 (see |
| Preliminary Essay 2). According to the ZJ¢7¢dfroo4 G#¢.de of 1859 it | | Preliminary Essay 2). According to the ZJ¢7¢dfroo4 G#¢.de of 1859 it |
| was on display near Flaxman's S¢G.G/d a/Ac4¢.//" at the top of the | | was on display near Flaxman's S¢G.G/d a/Ac4¢.//" at the top of the |
| stairs leading from the main sculpture gallery (the Randolph Gallery) | | stairs leading from the main sculpture gallery (the Randolph Gallery) |
| to the Crypt or sub-gallery. It was still there in 1865 but was | | to the Crypt or sub-gallery. It was still there in 1865 but was |
| probably removed in the 1880s and has been in store during the | | probably removed in the 1880s and has been in store during the |
| whole of this century. | | whole of this century. |
| Westmacott's relief of the Ty¢.¢/ a/Soc7¢££f was commissioned | | Westmacott's relief of the Ty¢.¢/ a/Soc7¢££f was commissioned |
| by Thomas Coke of Norfolk (later first carl of Leicester of | | by Thomas Coke of Norfolk (later first carl of Leicester of |
| the second creation) for his seat Holkham Hall. It was fiilly | | the second creation) for his seat Holkham Hall. It was fiilly |
| paid for on 27 December 1824 and was probably by then | | paid for on 27 December 1824 and was probably by then |
| fixed in place in the great entrance hall where it remains. The | | fixed in place in the great entrance hall where it remains. The |
| total cost was £3616J. The first payment of fl50 was made | | total cost was £3616J. The first payment of fl50 was made |
| in October 1821, but the work seems to have been | | in October 1821, but the work seems to have been |
| contemplated if not commissioncd by 21 July 1818, | | contemplated if not commissioncd by 21 July 1818, |
| apparently as a reflection of political pamphlets published in | | apparently as a reflection of political pamphlets published in |
| the previous year which attacked and defended Coke's Whig | | the previous year which attacked and defended Coke's Whig |
| stance against the government's suspension of habcas corpus | | stance against the government's suspension of habcas corpus |
| citing the trial of Socrates. Chantrey's relief of the signing of | | citing the trial of Socrates. Chantrey's relief of the signing of |
| Magna Carta was made a decade later as a companion piece. | | Magna Carta was made a decade later as a companion piece. |
| These and other reliefs at Holkham are discussed and | | These and other reliefs at Holkham are discussed and |
| illustrated by W. 0. Hassall and N. 8. Penny, `Political | | illustrated by W. 0. Hassall and N. 8. Penny, `Political |
| Sculpture at Holkham', Co#%o¢.jirG#gr (July 1977), 207-11. | | Sculpture at Holkham', Co#%o¢.jirG#gr (July 1977), 207-11. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Sir RIchard WESTMACOTT RA ( 1775-1856) | | Sir RIchard WESTMACOTT RA ( 1775-1856) |
| n | | n | @@PROCESS |
| 590. Nymph with Zephyr | | 590. Nymph with Zephyr |
| (fragment) | | (fragment) |
| 30.9 cms. (height); 36.4 cms. (width) | | 30.9 cms. (height); 36.4 cms. (width) |
| Plaster of Paris, coated with shellac, now discoloured. Hollow cast, | | Plaster of Paris, coated with shellac, now discoloured. Hollow cast, |
| recording the lost original clay model. The work is sawn across the | | recording the lost original clay model. The work is sawn across the |
| back wall of plaster and cracked across the thinner front wall. The | | back wall of plaster and cracked across the thinner front wall. The |
| nymph's ralscd left arm is terminated at what was an oridnal joint | | nymph's ralscd left arm is terminated at what was an oridnal joint |
| in the cast. The broken pine support now projecting was thrust into | | in the cast. The broken pine support now projecting was thrust into |
| the wet plaster of the cast body to serve as an armature for the | | the wet plaster of the cast body to serve as an armature for the |
| separately cast arm which would be slipped over it. | | separately cast arm which would be slipped over it. |
| Given to the University Galleries by the sculptor in 1851 (see | | Given to the University Galleries by the sculptor in 1851 (see |
| Preliminary Essay 2). According to the H¢„¢froo¢ G#£de of 1859 it | | Preliminary Essay 2). According to the H¢„¢froo¢ G#£de of 1859 it |
| was on display in a recess of the Chantrey Gallery (the present Ruskin | | was on display in a recess of the Chantrey Gallery (the present Ruskin |
| Lecture Hall) companion with a `Beggar Girl' (the Q)(Pry, No. 601). | | Lecture Hall) companion with a `Beggar Girl' (the Q)(Pry, No. 601). |
| It was still there in 1865 but was probably removed in the l880s | | It was still there in 1865 but was probably removed in the l880s |
| and has been in store during the whole of this century. It was sawn | | and has been in store during the whole of this century. It was sawn |
| up in 1939. | | up in 1939. |
| Westmacott's `Groupe, in marble of a Nymph and Zephyr, | | Westmacott's `Groupe, in marble of a Nymph and Zephyr, |
| for the Gallery of Earl Grosvenor', consisting of a nude givl | | for the Gallery of Earl Grosvenor', consisting of a nude givl |
| clutching a putto with butterfly wings to her bosom with her | | clutching a putto with butterfly wings to her bosom with her |
| n | | n | @@PROCESS |
| 180 | | 180 |
| right arm and holding a butterfly just out of his reach with | | right arm and holding a butterfly just out of his reach with |
| her left, was exhibited at the Royal Academy in 1828 (as | | her left, was exhibited at the Royal Academy in 1828 (as |
| no.1214). The group was a variant on a theme Westmacott | | no.1214). The group was a variant on a theme Westmacott |
| commenced in the Nyowp¢ 7pG.*¢ Cape.¢ exhibited the year | | commenced in the Nyowp¢ 7pG.*¢ Cape.¢ exhibited the year |
| before (for the earl of Egremont at Petworth). He employed | | before (for the earl of Egremont at Petworth). He employed |
| the same model for both these nymphs and for his N)JowP47 | | the same model for both these nymphs and for his N)JowP47 |
| #»c/4JJP¢."g 4G7 zo7¢e exhibited 1824 ( fomerly at Castle | | #»c/4JJP¢."g 4G7 zo7¢e exhibited 1824 ( fomerly at Castle |
| Howard, the plaster of which survives in the Soane Museum). | | Howard, the plaster of which survives in the Soane Museum). |
| The Nyowp¢ w¢.£¢ Zcpkyr was commissioned by the second | | The Nyowp¢ w¢.£¢ Zcpkyr was commissioned by the second |
| Earl Grosvenor (later marquess of westminster) and survives | | Earl Grosvenor (later marquess of westminster) and survives |
| in the family possession (with some small sad losses) at Eaton | | in the family possession (with some small sad losses) at Eaton |
| Hall, Cheshire. The esteem with which it was regarded when | | Hall, Cheshire. The esteem with which it was regarded when |
| acquired is reflected by its inclusion among the art treasures | | acquired is reflected by its inclusion among the art treasures |
| in the group portrait of the Grosvcnor family in the sumptuous | | in the group portrait of the Grosvcnor family in the sumptuous |
| new gallery of their I,ondon house painted by Charles Robert | | new gallery of their I,ondon house painted by Charles Robert |
| Leslie in 1831 ( 777c Trc¢f#rc Ho#fGf a/B".ira;¢." (National | | Leslie in 1831 ( 777c Trc¢f#rc Ho#fGf a/B".ira;¢." (National |
| Gallery of Art, Washington,1985), no. 530, p. 580). With | | Gallery of Art, Washington,1985), no. 530, p. 580). With |
| the exception of the unsuccessful Eap¢rny"c, the Nyowp¢ ¢»¢ | | the exception of the unsuccessful Eap¢rny"c, the Nyowp¢ ¢»¢ |
| ZGpkyr was Westmacott's last exercise in the mode of | | ZGpkyr was Westmacott's last exercise in the mode of |
| Canovian classical sculpture which he commenced in 1822 | | Canovian classical sculpture which he commenced in 1822 |
| (the year of Canova's death) with his C„P¢.d and Pryc4c for | | (the year of Canova's death) with his C„P¢.d and Pryc4c for |
| the duke of Bcdford. | | the duke of Bcdford. |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| | | @@PROCESS |
| 181 | | 181 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Sir Richard WESTMACOTT RA ( 1775-1856) | | Sir Richard WESTMACOTT RA ( 1775-1856) |
| n | | n | @@PROCESS |
| 591. Bust portrait of the llth earl | | 591. Bust portrait of the llth earl |
| of Pembroke | | of Pembroke |
| 56 cms. (height, including socle); 13 cms. (height of socle); | | 56 cms. (height, including socle); 13 cms. (height of socle); |
| 20 cms. (diameter of soclc) | | 20 cms. (diameter of soclc) |
| Plaster of Paris, painted a creamy stone colour in two coats on top | | Plaster of Paris, painted a creamy stone colour in two coats on top |
| of a dirty and yellowed coat of shellac. The paint has flaked | | of a dirty and yellowed coat of shellac. The paint has flaked |
| extensively and on the socle the dirty layer is exposed. The cast has | | extensively and on the socle the dirty layer is exposed. The cast has |
| thick walls. Thcrc is a crack across the neck and collarbone. | | thick walls. Thcrc is a crack across the neck and collarbone. |
| `WESTMACoTr' is stamped in the plaster on the back of the socle. | | `WESTMACoTr' is stamped in the plaster on the back of the socle. |
| `100' is printed on a paper label stuck to the tablet of the socle. | | `100' is printed on a paper label stuck to the tablet of the socle. |
| Given to the University Galleries by the sculptor in 1851 (see | | Given to the University Galleries by the sculptor in 1851 (see |
| Preliminary Essay 2). Probably displayed with the busts by Chantrey | | Preliminary Essay 2). Probably displayed with the busts by Chantrey |
| for about thirty years and thereafter stored with them. I.ong believed | | for about thirty years and thereafter stored with them. I.ong believed |
| to be one of the busts by Chantrey. | | to be one of the busts by Chantrey. |
| Westmacott's monument to the eleventh earl of Pembroke in | | Westmacott's monument to the eleventh earl of Pembroke in |
| the nco-Romanesque parish church at Wilton, Wiltshire, | | the nco-Romanesque parish church at Wilton, Wiltshire, |
| consists of a relief of a group of peasants lamenting their | | consists of a relief of a group of peasants lamenting their |
| protector whose bust is placed in a tondo above (see N. 8. -Penny , Church Monum | | protector whose bust is placed in a tondo above (see N. 8. -Penny , Church Monum |
| ents in Romantic_ Pngl?nd I:r:: , | | ents in Romantic_ Pngl?nd I:r:: , |
| Haven, Conn., and Ijondon, 1977), pl.18 and p.196). This | | Haven, Conn., and Ijondon, 1977), pl.18 and p.196). This |
| bust is the same as the version on the monument but without | | bust is the same as the version on the monument but without |
| drapery and with a socle. The earl died in 1827. A marble | | drapery and with a socle. The earl died in 1827. A marble |
| version of the bust in Wilton House is dated 1830. | | version of the bust in Wilton House is dated 1830. |
| n | | n | @@PROCESS |
| 182 | | 182 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Sir Richard WESTMACOTT RA ( 1775-1856) | | Sir Richard WESTMACOTT RA ( 1775-1856) |
| n | | n | @@PROCESS |
| 592. Gypsy (fragment) | | 592. Gypsy (fragment) |
| 29 cms. (height from fractured chest to top of head) | | 29 cms. (height from fractured chest to top of head) |
| plaster of Paris, painted, probably oridnally, with a creamy stone | | plaster of Paris, painted, probably oridnally, with a creamy stone |
| colour now brown. Hollow cast, recording the lost original clay | | colour now brown. Hollow cast, recording the lost original clay |
| model. The work is sawn across the upper chest and smashed, | | model. The work is sawn across the upper chest and smashed, |
| perhaps subsequently, around the sawn edge. The sculpture was | | perhaps subsequently, around the sawn edge. The sculpture was |
| cleaned in 1987 by Miss Rachel Kcnward. | | cleaned in 1987 by Miss Rachel Kcnward. |
| Given to the University Galleries by the sculptor in 1851 (see | | Given to the University Galleries by the sculptor in 1851 (see |
| Preliminary Essay 2). According to the H¢»d4oo4 G"¢.de of 1859 it | | Preliminary Essay 2). According to the H¢»d4oo4 G"¢.de of 1859 it |
| was on display in a recess of the Chantrcy Gallery (the present Ruskin | | was on display in a recess of the Chantrcy Gallery (the present Ruskin |
| Lecture Hall) companion with a `Nymph and Cupid' (Nyowp47 wZ£¢ | | Lecture Hall) companion with a `Nymph and Cupid' (Nyowp47 wZ£¢ |
| ZGpkyr, No. 590). It was still there in 1865 but was probably removed | | ZGpkyr, No. 590). It was still there in 1865 but was probably removed |
| in the 1880s and has been in store during the whole of this century. | | in the 1880s and has been in store during the whole of this century. |
| It was sawn up in 1939. | | It was sawn up in 1939. |
| Westmacott's sculpture of a seated gypsy girl exhibited at the | | Westmacott's sculpture of a seated gypsy girl exhibited at the |
| Royal Academy in 1832 (no. I 178, as `The Gipsey; a statue | | Royal Academy in 1832 (no. I 178, as `The Gipsey; a statue |
| in marble'), was acquired by the fourth earl of Egremont for | | in marble'), was acquired by the fourth earl of Egremont for |
| the great sculpture collection at Silvcrton Park, but is now | | the great sculpture collection at Silvcrton Park, but is now |
| untraced. In a letter of 12 January 1852 in the Department's | | untraced. In a letter of 12 January 1852 in the Department's |
| archives Wcstmacott recalls that `In executing this statue I | | archives Wcstmacott recalls that `In executing this statue I |
| had overlooked a pecuharity, and it brought on me a reproof | | had overlooked a pecuharity, and it brought on me a reproof |
| from her Mother on sccing the model, she said it was not | | from her Mother on sccing the model, she said it was not |
| her Daughter, on asking an explanation it appeared I had not | | her Daughter, on asking an explanation it appeared I had not |
| noticed a lock of hair on her forehead, which was separated | | noticed a lock of hair on her forehead, which was separated |
| from the mass, and passed over it. It was the badge of her | | from the mass, and passed over it. It was the badge of her |
| Tribe. The work was only in clay, and my modelling stick | | Tribe. The work was only in clay, and my modelling stick |
| corrected the oversight in a moment, and the old Mother and | | corrected the oversight in a moment, and the old Mother and |
| I became good ffiends.' Family papers at Orchard Wyndham | | I became good ffiends.' Family papers at Orchard Wyndham |
| reveal that Westmacott sold antique marbles and vases to the | | reveal that Westmacott sold antique marbles and vases to the |
| fourth earl of Egremont during the 1830s when he was tr}ing | | fourth earl of Egremont during the 1830s when he was tr}ing |
| to crcatc at Silvcrton a gauery to rival that at Pctworth created | | to crcatc at Silvcrton a gauery to rival that at Pctworth created |
| by previous earls, a gallery which he had not inherited with | | by previous earls, a gallery which he had not inherited with |
| the title. | | the title. |
| n | | n | @@PROCESS |
| 183 | | 183 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| | | @@PROCESS |
| 184 | | 184 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Joseph WILLEMS (d. 1766) | | Joseph WILLEMS (d. 1766) |
| n | | n | @@PROCESS |
| 593 and 594. Lady and gentleman | | 593 and 594. Lady and gentleman |
| dancing | | dancing |
| 31.2 cms. (height of male figure (593) including plinth); I.3 cms. | | 31.2 cms. (height of male figure (593) including plinth); I.3 cms. |
| (height of plinth); 10.7 cms. (length of plinth); 9.I cms. (width | | (height of plinth); 10.7 cms. (length of plinth); 9.I cms. (width |
| of plinth); 30.6 cms. (height of female figure (594) including | | of plinth); 30.6 cms. (height of female figure (594) including |
| plinth); I.3 cms. (height of plinth); 11.I cms. (length of plinth); | | plinth); I.3 cms. (height of plinth); 11.I cms. (length of plinth); |
| 10.6 cms. (width of plinth) | | 10.6 cms. (width of plinth) |
| Terracotta of a rich orange colour painted in oil colours. The colours | | Terracotta of a rich orange colour painted in oil colours. The colours |
| have held well: both faces retaining some rose in the cheeks. The | | have held well: both faces retaining some rose in the cheeks. The |
| |ady's blue ribbon matches the gcntleman's waistcoat. The prevailing | | |ady's blue ribbon matches the gcntleman's waistcoat. The prevailing |
| colour is of slightly green grey stone. The paint has crazed and | | colour is of slightly green grey stone. The paint has crazed and |
| wrinkled extensively and flaked off in some areas to reveal a pale | | wrinkled extensively and flaked off in some areas to reveal a pale |
| ycllowed gesso preparation in some cases and in others the clay | | ycllowed gesso preparation in some cases and in others the clay |
| itself. There are traces of gilding on the lady's bodice. The lady has | | itself. There are traces of gilding on the lady's bodice. The lady has |
| been hollowed but the aperture in the underside of the plinth has | | been hollowed but the aperture in the underside of the plinth has |
| been smeared over so as to be considerably smaller than the hollow. | | been smeared over so as to be considerably smaller than the hollow. |
| The gentleman is of similar weight but if hc has bccn hollowed | | The gentleman is of similar weight but if hc has bccn hollowed |
| (which is likely) then the plinth has been built up afterwards. Thcrc | | (which is likely) then the plinth has been built up afterwards. Thcrc |
| is a break through the man's left thigh and the contiguous corner of | | is a break through the man's left thigh and the contiguous corner of |
| his jacket. Chips are missing from his right sleeve and from the back | | his jacket. Chips are missing from his right sleeve and from the back |
| corner of his tricom hat. There is a break through the lady's neck | | corner of his tricom hat. There is a break through the lady's neck |
| and the plaster repair of this is evident. There is also a break across | | and the plaster repair of this is evident. There is also a break across |
| the front left corner of the plinth. `WILLEMs 1749' in large irregular | | the front left corner of the plinth. `WILLEMs 1749' in large irregular |
| capitals is incised on the proper left face of both plinths, the date in | | capitals is incised on the proper left face of both plinths, the date in |
| the case of the male figure running on to the chamfered corner. | | the case of the male figure running on to the chamfered corner. |
| The letters arc angular (the `W', typically, composed of two `V's). | | The letters arc angular (the `W', typically, composed of two `V's). |
| They have no burr and the clay surface sccms not to have risen in | | They have no burr and the clay surface sccms not to have risen in |
| response to the downward pressure of the strokes. They must have | | response to the downward pressure of the strokes. They must have |
| bccn cut in the leather-hard clay. | | bccn cut in the leather-hard clay. |
| Given by the dealer Cyril da Costa Andradc of Morocco House, | | Given by the dealer Cyril da Costa Andradc of Morocco House, |
| Bayard's Cove, nr. Dartmouth, Devon. Redstered (as `Figures of | | Bayard's Cove, nr. Dartmouth, Devon. Redstered (as `Figures of |
| Actor and Actress') on 12 May 1959. A note in the RCSster records | | Actor and Actress') on 12 May 1959. A note in the RCSster records |
| their acquisition for 165 guineas from the collection of `Fred Skull, | | their acquisition for 165 guineas from the collection of `Fred Skull, |
| High Wycombc' with the refcrcnce Christie's, 234 April 1952, lot | | High Wycombc' with the refcrcnce Christie's, 234 April 1952, lot |
| 78. For other gifts by Andrade see Nos. 457, 487, and 570. The | | 78. For other gifts by Andrade see Nos. 457, 487, and 570. The |
| figures seem always to have been displayed in the Chambers Hall | | figures seem always to have been displayed in the Chambers Hall |
| Room. | | Room. |
| Willems is described in his own will as born in Brussels but | | Willems is described in his own will as born in Brussels but |
| at what date is unknown. Hc married in Tournai in 1739 so | | at what date is unknown. Hc married in Tournai in 1739 so |
| he is likely to have been born before 1720. He is known to | | he is likely to have been born before 1720. He is known to |
| have worked as a modeller at the Chelsea porcelain factory | | have worked as a modeller at the Chelsea porcelain factory |
| of Nicolas Sprimont and it is tempting to associate him with | | of Nicolas Sprimont and it is tempting to associate him with |
| the commencement of an interest in figurative models taken | | the commencement of an interest in figurative models taken |
| by that factory after 1749 (when Sprimont's partner Gouyn | | by that factory after 1749 (when Sprimont's partner Gouyn |
| retired) or at least with the estabhshment of a `house style' | | retired) or at least with the estabhshment of a `house style' |
| in modelling after about 1753. The evidence of his association | | in modelling after about 1753. The evidence of his association |
| with Chelsca cannot, however, be documented previous to | | with Chelsca cannot, however, be documented previous to |
| 1755-8 when `Williams' and Sprimont were mentioned | | 1755-8 when `Williams' and Sprimont were mentioned |
| together in the Chelsea rate books as tenants of a house thcrc. | | together in the Chelsea rate books as tenants of a house thcrc. |
| In 1763 hc is recorded-this time correctly spelt `Willems'- | | In 1763 hc is recorded-this time correctly spelt `Willems'- |
| in „o7f¢.owG7'f U„¢.pGr£4r/ D¢.rccfory ((I.ondon, 1763), i. 19) | | in „o7f¢.owG7'f U„¢.pGr£4r/ D¢.rccfory ((I.ondon, 1763), i. 19) |
| as `Modellcr at the Brussels Coffcc House, Chelsea' where hc | | as `Modellcr at the Brussels Coffcc House, Chelsea' where hc |
| taught drawing and modeuing, with the note that `he has | | taught drawing and modeuing, with the note that `he has |
| modelled for the Chelsea china factory for many years'. It | | modelled for the Chelsea china factory for many years'. It |
| seems reasonable to identify him with the Williams who | | seems reasonable to identify him with the Williams who |
| exhibited at the Society of Artists between 1761 and 1766, | | exhibited at the Society of Artists between 1761 and 1766, |
| not least because some of his works (for example, `A model | | not least because some of his works (for example, `A model |
| of Leda' and `A figure of cleo [Clio]' in 1763) were subjects | | of Leda' and `A figure of cleo [Clio]' in 1763) were subjects |
| treated in porcelain. He left Enaland soon after February 1766, | | treated in porcelain. He left Enaland soon after February 1766, |
| invited to the Tournal porcelain factory by its director, and | | invited to the Tournal porcelain factory by its director, and |
| died in Toumal on I November. The posthumous inventory | | died in Toumal on I November. The posthumous inventory |
| of his effects included `plusicurs grouppes de rondc bosse de | | of his effects included `plusicurs grouppes de rondc bosse de |
| terre cuite et color6cs cn blanc de sa composition et par lui | | terre cuite et color6cs cn blanc de sa composition et par lui |
| modcl€es'. (A. I.ane, `Chclsca Porcelain Figures and the | | modcl€es'. (A. I.ane, `Chclsca Porcelain Figures and the |
| Modeller Joseph Willcms', Co„"o¢.ffc#r (May 1960), 245- | | Modeller Joseph Willcms', Co„"o¢.ffc#r (May 1960), 245- |
| 51.) | | 51.) |
| From the above account the importance of the signed | | From the above account the importance of the signed |
| models in the Ashmolean is clear. `Hitherto wc have not been | | models in the Ashmolean is clear. `Hitherto wc have not been |
| able to confirm Willems's presence in England, or at Chelsea, | | able to confirm Willems's presence in England, or at Chelsea, |
| before 1755. But an important document has now come to | | before 1755. But an important document has now come to |
| light in the form of two terracotta figurcs', wrote Arthur | | light in the form of two terracotta figurcs', wrote Arthur |
| Lane. `We cannot say for certain whcthcr the artist made | | Lane. `We cannot say for certain whcthcr the artist made |
| them here, or brought them with him ready-made from | | them here, or brought them with him ready-made from |
| abroad. But we may presume that Willems must by then | | abroad. But we may presume that Willems must by then |
| [ 1749] have reached Enaland, and been available for | | [ 1749] have reached Enaland, and been available for |
| employment by his fellow-countryman Sprimont at the very | | employment by his fellow-countryman Sprimont at the very |
| moment when the Chelsea factory embarked on its new | | moment when the Chelsea factory embarked on its new |
| programme of making figures' (ibid. 248). I.one proceeded | | programme of making figures' (ibid. 248). I.one proceeded |
| to point out the affinities in style between the figures and | | to point out the affinities in style between the figures and |
| those in Chelsea porcelain. No figures in porcelain correspond | | those in Chelsea porcelain. No figures in porcelain correspond |
| in pose but there are a number which are not dissimilar, | | in pose but there are a number which are not dissimilar, |
| although more ornamental in colouring and accessories and | | although more ornamental in colouring and accessories and |
| in the handling of the extrcmitics. Those in the so-called | | in the handling of the extrcmitics. Those in the so-called |
| Maypole group are particularly close (an example is on loan | | Maypole group are particularly close (an example is on loan |
| to the Fitzwilliam Museum, Cambridge 85-1955). | | to the Fitzwilliam Museum, Cambridge 85-1955). |
| There is no reason to suspect the antiquity of the terracotta | | There is no reason to suspect the antiquity of the terracotta |
| dancers. Some at least of the colour is untikely to be origival | | dancers. Some at least of the colour is untikely to be origival |
| (it covers chips which are unlikely to be kiln losscs). The | | (it covers chips which are unlikely to be kiln losscs). The |
| cream underpainting may well correspond with the `blanc' | | cream underpainting may well correspond with the `blanc' |
| finish mentioned in the artist's inventory. It should be | | finish mentioned in the artist's inventory. It should be |
| observed, though, that the signatures and dates are | | observed, though, that the signatures and dates are |
| suspiciously convenient in that they turn the figures into | | suspiciously convenient in that they turn the figures into |
| exactly the `document' porcelain historians wanted. The form | | exactly the `document' porcelain historians wanted. The form |
| and size of the letters and style of the sigmturc (with no f or | | and size of the letters and style of the sigmturc (with no f or |
| fecit) are unusual in the eighteenth century. | | fecit) are unusual in the eighteenth century. |
| A sample was taken fi-om the female figure by Mrs Dorcen | | A sample was taken fi-om the female figure by Mrs Dorcen |
| Stoneham of the Research Laboratory for Art and | | Stoneham of the Research Laboratory for Art and |
| Archaeology in March 1987 and thermo-luminescencc tests | | Archaeology in March 1987 and thermo-luminescencc tests |
| suggcstcd a firing date between 1677 and 1787 (ref. 38l-z- | | suggcstcd a firing date between 1677 and 1787 (ref. 38l-z- |
| 90). | | 90). |
| n | | n | @@PROCESS |
| 185 | | 185 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| h,,",#:,,..,,,i,,:ife'':i,; | | h,,",#:,,..,,,i,,:ife'':i,; |
| fry,i,;'#|ki#ELrEiir,,,'`'';j!#,`;###r'``'T:T''`':'i':;.I:'':''lffi | | fry,i,;'#|ki#ELrEiir,,,'`'';j!#,`;###r'``'T:T''`':'i':;.I:'':''lffi |
| .r,t+;,.,..::F:'+iifeife:'#': | | .r,t+;,.,..::F:'+iifeife:'#': |
| ;,i:£±-,.:.f;:ii:,,.`':tii,*,,,,,,lj,,"''"i..",,,;`:ffi##,,1!!, | | ;,i:£±-,.:.f;:ii:,,.`':tii,*,,,,,,lj,,"''"i..",,,;`:ffi##,,1!!, |
| I-,T--.I:+ | | I-,T--.I:+ |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| [Francis] Dcrwent WOOD ( 1871-1926) | | [Francis] Dcrwent WOOD ( 1871-1926) |
| n | | n | @@PROCESS |
| 595. Bust portrait of Mrs Otto | | 595. Bust portrait of Mrs Otto |
| Gutekunst | | Gutekunst |
| 60 cms. (height); 49 cms. (length) | | 60 cms. (height); 49 cms. (length) |
| Carrara marble. `Derwcnt Wood 1915' is chisellcd in small cursive | | Carrara marble. `Derwcnt Wood 1915' is chisellcd in small cursive |
| letters to proper left of bust in the rough marble area below the | | letters to proper left of bust in the rough marble area below the |
| bosom. The bust was accidentally knocked off its pcdcstal during | | bosom. The bust was accidentally knocked off its pcdcstal during |
| the 1970s and broken clean across the neck. It was repaired 1983- | | the 1970s and broken clean across the neck. It was repaired 1983- |
| 4 by David Armitage of the Department of Eastern Art and the join | | 4 by David Armitage of the Department of Eastern Art and the join |
| is no longer apparent. | | is no longer apparent. |
| Presented in 1948 by Mrs Otto Gutekunst (then of the Hotel | | Presented in 1948 by Mrs Otto Gutekunst (then of the Hotel |
| Montana, I.ausanne) in memory of her husband. Registered on | | Montana, I.ausanne) in memory of her husband. Registered on |
| 16 December. The bust stood until it was knocked off a pedestal | | 16 December. The bust stood until it was knocked off a pedestal |
| behind the door of 4l Beaumont Street. Since restoration it has been | | behind the door of 4l Beaumont Street. Since restoration it has been |
| in basement storage. The bust was given by Mrs Gutckunst together | | in basement storage. The bust was given by Mrs Gutckunst together |
| with a bronze head of a young boy. For other gifts by her see the | | with a bronze head of a young boy. For other gifts by her see the |
| Preliminary Essay to vol. ii. | | Preliminary Essay to vol. ii. |
| Mrs Gutekunst was the wife of a leading London art dealer | | Mrs Gutekunst was the wife of a leading London art dealer |
| associated, in the early years of the century, with the firm of | | associated, in the early years of the century, with the firm of |
| Colnaghi. Dcrwcnt Wood was much in demand for his | | Colnaghi. Dcrwcnt Wood was much in demand for his |
| portrait busts from 1901, when hc was first established in | | portrait busts from 1901, when hc was first established in |
| I.ondon, until his death. The merging of the off-shoulder | | I.ondon, until his death. The merging of the off-shoulder |
| gown with rough-hewn marble was a motif made popular in | | gown with rough-hewn marble was a motif made popular in |
| high-society bust portraiture by Rodin of a kind which Wood | | high-society bust portraiture by Rodin of a kind which Wood |
| must have sccn when he was in Paris in 1895 with a Royal | | must have sccn when he was in Paris in 1895 with a Royal |
| Academy gold medal travelling scholarship. Notable examples | | Academy gold medal travelling scholarship. Notable examples |
| of such busts by Rodin of English sitters wee exhibited in | | of such busts by Rodin of English sitters wee exhibited in |
| I.ondon in the early years of the twentieth century-for | | I.ondon in the early years of the twentieth century-for |
| instance, the bust of Mrs Charles Hunter of 1908 (now | | instance, the bust of Mrs Charles Hunter of 1908 (now |
| belongivg to the Tate Gallery but on loan to Bethnal Green | | belongivg to the Tate Gallery but on loan to Bethnal Green |
| M:userm+-R. AINey , Catalogtte Of the Ta[te Gallery's Collection | | M:userm+-R. AINey , Catalogtte Of the Ta[te Gallery's Collection |
| Of Mode1'.n Art other than Works ky British Artists (.hondor\, | | Of Mode1'.n Art other than Works ky British Artists (.hondor\, |
| 1981 ), 649-50, no. 4116). | | 1981 ), 649-50, no. 4116). |
| n | | n | @@PROCESS |
| 187 | | 187 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Thomas WOOLNER RA ( 1825-92) | | Thomas WOOLNER RA ( 1825-92) |
| n | | n | @@PROCESS |
| 596. Bust portrait of Thomas | | 596. Bust portrait of Thomas |
| Combe | | Combe |
| 64.9 cms. (height of bust); 25.5 cms. (length of base of bust); | | 64.9 cms. (height of bust); 25.5 cms. (length of base of bust); |
| 18 cms. (width of base of bust); 123 cms. (height of pedestal); | | 18 cms. (width of base of bust); 123 cms. (height of pedestal); |
| 44.2 cms. (length of plinth of pedestal); 37.5 cms (width of plinth | | 44.2 cms. (length of plinth of pedestal); 37.5 cms (width of plinth |
| of pedestal) | | of pedestal) |
| White Carrara marble, brown and grey with ingrained dust. The | | White Carrara marble, brown and grey with ingrained dust. The |
| bust and its base are made of a single piece of marble. The surface | | bust and its base are made of a single piece of marble. The surface |
| of the marble has been grooved with the toothed chisel at the cutting | | of the marble has been grooved with the toothed chisel at the cutting |
| of the chest, textured with smaller chisels around the base and in hair | | of the chest, textured with smaller chisels around the base and in hair |
| and beard, and retains the marks of a rasp all over the flesh. `T. | | and beard, and retains the marks of a rasp all over the flesh. `T. |
| wooLNER. SS / £oNDON' is chiselled on the proper left face of the | | wooLNER. SS / £oNDON' is chiselled on the proper left face of the |
| base of the bust under the shoulder. `THOMAS CoMBE 1863' is | | base of the bust under the shoulder. `THOMAS CoMBE 1863' is |
| chiselled in the shallow recess in the front face of the base. There | | chiselled in the shallow recess in the front face of the base. There |
| are slots on both side faces of the base which perhaps relate to the | | are slots on both side faces of the base which perhaps relate to the |
| original support. So too perhaps does the way that the lower part | | original support. So too perhaps does the way that the lower part |
| of the back face of the base has been roughly chamfered. Since | | of the back face of the base has been roughly chamfered. Since |
| coming to the Museum it has been mounted on a pedestal composed | | coming to the Museum it has been mounted on a pedestal composed |
| ofthrce pieces of dingy brown and pink marble with a smoky pattern | | ofthrce pieces of dingy brown and pink marble with a smoky pattern |
| n | | n | @@PROCESS |
| 188 | | 188 |
| (probably from Devon or Comwall and certainly British) lettered | | (probably from Devon or Comwall and certainly British) lettered |
| in gold with the names and dates of sitter and artist and the name | | in gold with the names and dates of sitter and artist and the name |
| of the donor. | | of the donor. |
| Given by Martha Combe, widow of the sitter, in 1894-before 13 | | Given by Martha Combe, widow of the sitter, in 1894-before 13 |
| February when her husband's bequest ( mostly of Pre-Raphaelitc | | February when her husband's bequest ( mostly of Pre-Raphaelitc |
| paintings) was accepted by Decree of Convocation (4»"#¢/ RGPo7? | | paintings) was accepted by Decree of Convocation (4»"#¢/ RGPo7? |
| Of the Curators Of. the Unil7ersity Galleries, \894).1r\ \896 tine | | Of the Curators Of. the Unil7ersity Galleries, \894).1r\ \896 tine |
| northern end of the Great Gallery was separated off by screens and | | northern end of the Great Gallery was separated off by screens and |
| the bust set up there with the Pre-Raphaelite paintings. This was | | the bust set up there with the Pre-Raphaelite paintings. This was |
| made into a proper room, named the Combe Room, in 1909. The | | made into a proper room, named the Combe Room, in 1909. The |
| bust has been in storage in recent dccadcs, but was placed in the | | bust has been in storage in recent dccadcs, but was placed in the |
| new Combe Gallery in 1988. | | new Combe Gallery in 1988. |
| Thomas Combe ( 1787-1872), one of the earnest patrons of | | Thomas Combe ( 1787-1872), one of the earnest patrons of |
| the Pre-Raphaelitcs, with whom Woolner was associated, was | | the Pre-Raphaelitcs, with whom Woolner was associated, was |
| Printer to the University from 1838, a keen supporter of the | | Printer to the University from 1838, a keen supporter of the |
| Hich Church Movcmcnt, and a zealous builder of schools | | Hich Church Movcmcnt, and a zealous builder of schools |
| and churches. The bust was exhibited at the Royal Academy | | and churches. The bust was exhibited at the Royal Academy |
| in 1864 (no.1024, `Mr. Combe, of the Clarendon Press'). | | in 1864 (no.1024, `Mr. Combe, of the Clarendon Press'). |
| The very solid base, lively texturing, and avoidance of polish, | | The very solid base, lively texturing, and avoidance of polish, |
| and the acceptance of modern dress, are characteristic of | | and the acceptance of modern dress, are characteristic of |
| Woolner's bust portraiture generally. | | Woolner's bust portraiture generally. |
| -`.. | | -`.. |
| '`!. - | | '`!. - |
| - ngh ` | | - ngh ` |
| Rap \to`' | | Rap \to`' |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Thomas WOOLNER RA ( 1825-92 ) | | Thomas WOOLNER RA ( 1825-92 ) |
| n | | n | @@PROCESS |
| 597. Bust portrait of william Ewart | | 597. Bust portrait of william Ewart |
| Gladstone on a pedestal decorated | | Gladstone on a pedestal decorated |
| with scenes from the JJ¢.¢d | | with scenes from the JJ¢.¢d |
| 65.6 cms. (height of bust); 26 cms. (length of base of bust); | | 65.6 cms. (height of bust); 26 cms. (length of base of bust); |
| 19.8 cms. (width of base of bust); 143.8 cms. (height of pedestal); | | 19.8 cms. (width of base of bust); 143.8 cms. (height of pedestal); |
| 45.5 cms. (length of plinth of pedestal); 41.6cms. (width of plinth | | 45.5 cms. (length of plinth of pedestal); 41.6cms. (width of plinth |
| of pedestal) | | of pedestal) |
| White Ca.mra marble, brown and grey with ingrained dust. There | | White Ca.mra marble, brown and grey with ingrained dust. There |
| is a small dark grey flaw in the marble on the chest. The bust and | | is a small dark grey flaw in the marble on the chest. The bust and |
| its base are made of a single piece of marble and are supported on | | its base are made of a single piece of marble and are supported on |
| a pedestal composed of two pieces of marble (the plinth is separate). | | a pedestal composed of two pieces of marble (the plinth is separate). |
| There arc chips missing from the uppermost moulding of the pcdcstal | | There arc chips missing from the uppermost moulding of the pcdcstal |
| and at the junction of the two pieces of which the plinth is made. | | and at the junction of the two pieces of which the plinth is made. |
| The surface of the marble has been left grooved with a toothed | | The surface of the marble has been left grooved with a toothed |
| chisel (on the cutting of the chest and under the relief on the front | | chisel (on the cutting of the chest and under the relief on the front |
| face of the pedestal) and has been less obviously textured with smaller | | face of the pedestal) and has been less obviously textured with smaller |
| chisels (for example on the base of the bust and in parts of the reliefs | | chisels (for example on the base of the bust and in parts of the reliefs |
| on the pedestal). On close inspection the marks of the rasp have | | on the pedestal). On close inspection the marks of the rasp have |
| seldom been polished off. `WO0LNER. S€ / LONDON. J866' is chisellcd | | seldom been polished off. `WO0LNER. S€ / LONDON. J866' is chisellcd |
| on the proper right face of the base of the bust under the shoulder | | on the proper right face of the base of the bust under the shoulder |
| (the second line in capitalized italics). `wlLLIAM EWART GIADSTONE' | | (the second line in capitalized italics). `wlLLIAM EWART GIADSTONE' |
| is chisellcd within the shallow smooth recess on the front face of the | | is chisellcd within the shallow smooth recess on the front face of the |
| base. | | base. |
| Transferred, together with the bust of the duke of Marlborough | | Transferred, together with the bust of the duke of Marlborough |
| (No. 566), by the Curators of the Bodleian hibrary in 1926 (14„»#¢/ | | (No. 566), by the Curators of the Bodleian hibrary in 1926 (14„»#¢/ |
| Rcpo7t ( 1926), 24), from the Picture Gallery of the Bodleian Library | | Rcpo7t ( 1926), 24), from the Picture Gallery of the Bodleian Library |
| to which it had been presented in 1866 by subscribers (W. D. | | to which it had been presented in 1866 by subscribers (W. D. |
| Macray,14#„¢/f a/£f7G Bod/G¢.¢„ L!.4r¢ry (Oxford, 1890), 481 ). By | | Macray,14#„¢/f a/£f7G Bod/G¢.¢„ L!.4r¢ry (Oxford, 1890), 481 ). By |
| \93L (Summary Gttide to t;he Department Of Fine Art. 47) it stood | | \93L (Summary Gttide to t;he Department Of Fine Art. 47) it stood |
| in the centre of the Combe Room companion with the bust of | | in the centre of the Combe Room companion with the bust of |
| Combe (No. 596). It was in storage in recent decades but was | | Combe (No. 596). It was in storage in recent decades but was |
| placed in the new Combe Gallery in 1988. | | placed in the new Combe Gallery in 1988. |
| The portrait bust, which is of similar form to that of Combc, | | The portrait bust, which is of similar form to that of Combc, |
| dated 1863 (596), is dated 1866, but the pedestal may date | | dated 1863 (596), is dated 1866, but the pedestal may date |
| from a little later. Although obviously designed for the bust, | | from a little later. Although obviously designed for the bust, |
| the pedestal is not a perfect fit for it. `Reliefs from the Iliad. | | the pedestal is not a perfect fit for it. `Reliefs from the Iliad. |
| Pedestal of the bust of the Rt. Hon. W. E. Gladstonc, | | Pedestal of the bust of the Rt. Hon. W. E. Gladstonc, |
| executed for the Bodleian Ganery, Oxford' was cxhibitcd by | | executed for the Bodleian Ganery, Oxford' was cxhibitcd by |
| Woolncr at the Royal Academy in 1868 (no. 1027) and it | | Woolncr at the Royal Academy in 1868 (no. 1027) and it |
| would be surprising if hc had in fact completed it two years | | would be surprising if hc had in fact completed it two years |
| before. The reliefs were no doubt felt to be appropriate given | | before. The reliefs were no doubt felt to be appropriate given |
| Gladstone's interest, as translator and scholar, in Homer's | | Gladstone's interest, as translator and scholar, in Homer's |
| epic. They were the first classical ones which Woolncr had | | epic. They were the first classical ones which Woolncr had |
| exhibited at the Royal Academy and coincided with an interest | | exhibited at the Royal Academy and coincided with an interest |
| in such subjects by the Pre-Raphaelitc painters. On the front | | in such subjects by the Pre-Raphaelitc painters. On the front |
| face is carved `Achilles shouting from the trenches with Pallas | | face is carved `Achilles shouting from the trenches with Pallas |
| Athena standing by his side', on the proper left face `Thetis | | Athena standing by his side', on the proper left face `Thetis |
| rising from the water to console Achilles', and, on the proper | | rising from the water to console Achilles', and, on the proper |
| right, `Thetis praying to Jupiter on behalf of Achilles'. | | right, `Thetis praying to Jupiter on behalf of Achilles'. |
| Woolner was partial to embehishing pedestals with subsidiary | | Woolner was partial to embehishing pedestals with subsidiary |
| reliefs (as in his design for a memorial to Wordsworth | | reliefs (as in his design for a memorial to Wordsworth |
| exhibited at the Royal Academy in 1852 with a copious | | exhibited at the Royal Academy in 1852 with a copious |
| description in the catalogue, and as in 777c Lo#¢'f P7i¢ycr at | | description in the catalogue, and as in 777c Lo#¢'f P7i¢ycr at |
| Wallingford, Northumberland, of 1856nd7). Woolner had | | Wallingford, Northumberland, of 1856nd7). Woolner had |
| worked in Oxford during the 1850s carving the relief (of | | worked in Oxford during the 1850s carving the relief (of |
| Adam and Eve and the angel holding a nucleating cell, a work | | Adam and Eve and the angel holding a nucleating cell, a work |
| designed by James Hungerford Pollen ) over the main entrance | | designed by James Hungerford Pollen ) over the main entrance |
| of the University Museum, and a statue of Francis Bacon for | | of the University Museum, and a statue of Francis Bacon for |
| the series of great scientists in the interior of the Museum. In | | the series of great scientists in the interior of the Museum. In |
| 1864 his statue of the prince consort was presented to the | | 1864 his statue of the prince consort was presented to the |
| Museum by the citizens of Oxford and he exhibited his bust | | Museum by the citizens of Oxford and he exhibited his bust |
| of Thomas Combe (No. 596). | | of Thomas Combe (No. 596). |
| A rephica of the bust of Gladstone was completed for the | | A rephica of the bust of Gladstone was completed for the |
| Guildhall, I.ondon, in October 1882 made out of marble | | Guildhall, I.ondon, in October 1882 made out of marble |
| from the Parian quarries in Greece and reproductions in | | from the Parian quarries in Greece and reproductions in |
| bronze by the firm of Elkington arc recorded (A. Woolner, | | bronze by the firm of Elkington arc recorded (A. Woolner, |
| Thomas Woolner: His Life in Imer§ (.hondon, L9\7), g22, | | Thomas Woolner: His Life in Imer§ (.hondon, L9\7), g22, |
| n. 2; Sothcby's, Bclgravia, 8 Scptcmbcr 1976, lot 18). A note | | n. 2; Sothcby's, Bclgravia, 8 Scptcmbcr 1976, lot 18). A note |
| of 19 June 1969 by Ian I.owe in the Departmcnt's files records | | of 19 June 1969 by Ian I.owe in the Departmcnt's files records |
| a plaster cast of the bust in the University Press Offices. | | a plaster cast of the bust in the University Press Offices. |
| n | | n | @@PROCESS |
| 189 | | 189 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| air j!1+ | | air j!1+ |
| (i | | (i |
| n | | n | @@PROCESS |
| 190 | | 190 |
| n | BRITISH SCULPTURES, BY ARTIST'S NAME | n | |
| Joseph Shepherd WYON ( 1836-73) | | Joseph Shepherd WYON ( 1836-73) |
| n | | n | @@PROCESS |
| 598. Medallion profile head of | | 598. Medallion profile head of |
| HRH Alexandra, princess of Wales | | HRH Alexandra, princess of Wales |
| 22.5 cms. (diameter of marble roundel as visible in its frame); | | 22.5 cms. (diameter of marble roundel as visible in its frame); |
| 32.5 cms. (height and width of outside of frame) | | 32.5 cms. (height and width of outside of frame) |
| White Carrara marble. The relief ground is textured with short | | White Carrara marble. The relief ground is textured with short |
| regular hatched strokes crossing at an acute angle. `ALEXANDRA' is | | regular hatched strokes crossing at an acute angle. `ALEXANDRA' is |
| chisellcd in very fine, very widely spaced letters around the upper | | chisellcd in very fine, very widely spaced letters around the upper |
| half circumference. `|. s. wVoN. SC.' is chisellcd in a diagonal line | | half circumference. `|. s. wVoN. SC.' is chisellcd in a diagonal line |
| across the cutting of the neck. The medallion is set in a square ctlt | | across the cutting of the neck. The medallion is set in a square ctlt |
| wooden frame (almost certainly original) with a simple outer | | wooden frame (almost certainly original) with a simple outer |
| moulding and the spandrels showing the texture of the oak under | | moulding and the spandrels showing the texture of the oak under |
| the water-gilding with small round geometrical ornaments in each | | the water-gilding with small round geometrical ornaments in each |
| corner (t\ro patterns arc used, paired on the diagonal). | | corner (t\ro patterns arc used, paired on the diagonal). |
| Given by Mrs A. W. Fuller of Sheen House, 89 Himner I.one, | | Given by Mrs A. W. Fuller of Sheen House, 89 Himner I.one, |
| Felpham, Sussex, in 1972. Rcdstered on 24 November. In reserve | | Felpham, Sussex, in 1972. Rcdstered on 24 November. In reserve |
| save for occasional exhibition until 1988 when placed in the newly | | save for occasional exhibition until 1988 when placed in the newly |
| refurbished Combc Gallery. | | refurbished Combc Gallery. |
| The artist came from the family of medallists, die-cutters, and | | The artist came from the family of medallists, die-cutters, and |
| wax modellers which dominated the productions of the | | wax modellers which dominated the productions of the |
| I.ondon Mint throughout the last century. He was the cldcst | | I.ondon Mint throughout the last century. He was the cldcst |
| son of Benjamin Wyon ( 1802-58) who was appointed Chief | | son of Benjamin Wyon ( 1802-58) who was appointed Chief |
| Engraver of seals in 1831, the nephew of Thomas Wyon | | Engraver of seals in 1831, the nephew of Thomas Wyon |
| Junior ( 1792-1817) who was appointed Chief Engraver of | | Junior ( 1792-1817) who was appointed Chief Engraver of |
| the Royal Mint in 1815, and of Edward Williani Wyon ( 1811- | | the Royal Mint in 1815, and of Edward Williani Wyon ( 1811- |
| 1885) the sculptor, and he was grandson of Thomas Wyon | | 1885) the sculptor, and he was grandson of Thomas Wyon |
| ( 1767-1830), appointed Chief Engraver of Seals in 1816. | | ( 1767-1830), appointed Chief Engraver of Seals in 1816. |
| Joseph Shepherd Wyon was himself chiefly known as a | | Joseph Shepherd Wyon was himself chiefly known as a |
| medallist and was appointed Chief Engraver of Her Majcsty's | | medallist and was appointed Chief Engraver of Her Majcsty's |
| Seals in 1858. Hc commenced exhibiting at the Royal | | Seals in 1858. Hc commenced exhibiting at the Royal |
| Academy in 1855 but the first and only work of his specified | | Academy in 1855 but the first and only work of his specified |
| as of marble to be shown there was no. 874 in 1864- | | as of marble to be shown there was no. 874 in 1864- |
| `H.R.H. The Princess ofwales'-presumably to be identified | | `H.R.H. The Princess ofwales'-presumably to be identified |
| with this medallion (or another version of it). The relief | | with this medallion (or another version of it). The relief |
| lettering and the idiosyncratic tcxturing of the ground reflect | | lettering and the idiosyncratic tcxturing of the ground reflect |
| his cxperiencc working in metal. | | his cxperiencc working in metal. |
| n | | n | @@PROCESS |
| 191 | | 191 |
| SCULPTURES OF THE BRITISH SCHOOL | | SCULPTURES OF THE BRITISH SCHOOL |
| Unassociated with a Named Artist, Craftsman, or Supplier | | Unassociated with a Named Artist, Craftsman, or Supplier |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 599. Bust portrait of King | | 599. Bust portrait of King |
| Heny VIII | | Heny VIII |
| 67.5 cms. (height excluding plinth); 64.5 cms. (length); 17.7cms. | | 67.5 cms. (height excluding plinth); 64.5 cms. (length); 17.7cms. |
| (height of plinth); 30.5 cms, (length of plinth); 30 cms. (width | | (height of plinth); 30.5 cms, (length of plinth); 30 cms. (width |
| of plinth) | | of plinth) |
| White (probably Carrara) marble, discolourcd with ingrained dirt | | White (probably Carrara) marble, discolourcd with ingrained dirt |
| and abraded. Broken in two from the king's left shoulder down to | | and abraded. Broken in two from the king's left shoulder down to |
| the other side of his chest and crudely cemented together, with | | the other side of his chest and crudely cemented together, with |
| patches of plaster in fill to proper right of the pendant medal. The | | patches of plaster in fill to proper right of the pendant medal. The |
| reverse of the bust is only slightly hollowed and is roughly hewn on | | reverse of the bust is only slightly hollowed and is roughly hewn on |
| the back of both cap and collar. The bust is mounted on a plain | | the back of both cap and collar. The bust is mounted on a plain |
| block of limestone unmoulded but with a large chamfer. | | block of limestone unmoulded but with a large chamfer. |
| Given to Oxford University by the dowager countess of Pomfret in | | Given to Oxford University by the dowager countess of Pomfret in |
| 1755. The collection included a large part of the `Arundel marbles', | | 1755. The collection included a large part of the `Arundel marbles', |
| bought by her father-in-law Sir William Femor (later I.ord | | bought by her father-in-law Sir William Femor (later I.ord |
| Lempster) from the sixth duke of Norfolk in 1691, and it is likely, | | Lempster) from the sixth duke of Norfolk in 1691, and it is likely, |
| but not certain, that this was one of them and was therefore acquired | | but not certain, that this was one of them and was therefore acquired |
| by the earl of Anmdel in the first half of the seventeenth century. | | by the earl of Anmdel in the first half of the seventeenth century. |
| The bust is recorded, perched on a high shelf at the far cnd of the | | The bust is recorded, perched on a high shelf at the far cnd of the |
| sculpture gallery in the Old Schools, companion with Dieussart's | | sculpture gallery in the Old Schools, companion with Dieussart's |
| bust of Prince Rupert (No. 471 ), in William Westall's watercolour | | bust of Prince Rupert (No. 471 ), in William Westall's watercolour |
| drawing of 1813 (engraved in the following year for R Ackermann's | | drawing of 1813 (engraved in the following year for R Ackermann's |
| A History Of` the University Of O>ifiord). It was cranstened to tine | | A History Of` the University Of O>ifiord). It was cranstened to tine |
| University Galleries where it is recorded in the H¢#dfoo4 G#¢.de of | | University Galleries where it is recorded in the H¢#dfoo4 G#¢.de of |
| 1859 in the Crypt or sub-gallery but visible to the public (p. 19, | | 1859 in the Crypt or sub-gallery but visible to the public (p. 19, |
| no. 59). It is not recorded in any guide made in this century and | | no. 59). It is not recorded in any guide made in this century and |
| must have bccn put into store in the l880s or l890s. It was identified | | must have bccn put into store in the l880s or l890s. It was identified |
| serving as a doorstop in the Museum basements in 1979 by Michael | | serving as a doorstop in the Museum basements in 1979 by Michael |
| Vickers and was placed in the Randolph Gallery. | | Vickers and was placed in the Randolph Gallery. |
| The marble bust is a coarse copy of the somewhat routine | | The marble bust is a coarse copy of the somewhat routine |
| bust of King Henry VIII at Lumley Castle which was already | | bust of King Henry VIII at Lumley Castle which was already |
| recorded there in 1590 upon one `front' of the Great Hall, | | recorded there in 1590 upon one `front' of the Great Hall, |
| in company with three others-`four livelie statues all | | in company with three others-`four livelie statues all |
| wrought in white marble in memory of K. Henry the 8, King | | wrought in white marble in memory of K. Henry the 8, King |
| Edward 6, Qucne Marie and Q. Elizabeth'. These were the | | Edward 6, Qucne Marie and Q. Elizabeth'. These were the |
| monarchs in whose reigns John, I.ord Lumley, lived. The four | | monarchs in whose reigns John, I.ord Lumley, lived. The four |
| busts were made for Lumley in Florence in 1566 by an | | busts were made for Lumley in Florence in 1566 by an |
| unknown sculptor employing medallic prototypes. The medal | | unknown sculptor employing medallic prototypes. The medal |
| of Henry VIII would sccm to have been derived from one | | of Henry VIII would sccm to have been derived from one |
| of Holbein's portraits. Michael Vickers, having made these | | of Holbein's portraits. Michael Vickers, having made these |
| connections, also pointed out the existence of a copy of the | | connections, also pointed out the existence of a copy of the |
| Lumley Castle Q;"cc» E/¢.z¢Gcff7 together with a companion | | Lumley Castle Q;"cc» E/¢.z¢Gcff7 together with a companion |
| bust of the earl of Leiccster in a private collection in I.ondon | | bust of the earl of Leiccster in a private collection in I.ondon |
| (both having come from Kimbolton Castle). The bust of I.ord | | (both having come from Kimbolton Castle). The bust of I.ord |
| Leicester (which he also shows to have derived ultimately | | Leicester (which he also shows to have derived ultimately |
| from a medallic prototype) is, he supposes, also a copy of | | from a medallic prototype) is, he supposes, also a copy of |
| another marble bust which, he suggests, was once among the | | another marble bust which, he suggests, was once among the |
| set at Lumley Castle. If so it must have been extracted from | | set at Lumley Castle. If so it must have been extracted from |
| there by 1590 when the inventory mcntioncd above was | | there by 1590 when the inventory mcntioncd above was |
| made. Vickers argues that the copy of the bust of Leicester, | | made. Vickers argues that the copy of the bust of Leicester, |
| and hence the other copies, including this one of Henry VIII, | | and hence the other copies, including this one of Henry VIII, |
| must have been made before the `disappcarancc' of the origival | | must have been made before the `disappcarancc' of the origival |
| hypothetical bust of Leicester in 1590. There is much that is | | hypothetical bust of Leicester in 1590. There is much that is |
| conjectural in this, but it is certainly true that `given Arundcl's | | conjectural in this, but it is certainly true that `given Arundcl's |
| interest in the Henrician Court, and in the art of Holbein in | | interest in the Henrician Court, and in the art of Holbein in |
| particular . . . it is cary to see why he should have owned the | | particular . . . it is cary to see why he should have owned the |
| bust now in Oxford', although it should be added that it | | bust now in Oxford', although it should be added that it |
| would be surprising if so great a connoisseur did not regret | | would be surprising if so great a connoisseur did not regret |
| that this work was of such dismal quality. (M. Vickers, `The | | that this work was of such dismal quality. (M. Vickers, `The |
| Changivg Face of Henry VIII', Co#„#)i LGrc (24 April 1980), | | Changivg Face of Henry VIII', Co#„#)i LGrc (24 April 1980), |
| 1248-9; id., `The Medal of Robert Dudley, Earl of I.cicestcr | | 1248-9; id., `The Medal of Robert Dudley, Earl of I.cicestcr |
| in the Bibliotheque Nationale', N#owG.fee¢fS.c C47it7»G.c/G, 141 | | in the Bibliotheque Nationale', N#owG.fee¢fS.c C47it7»G.c/G, 141 |
| (1981),117-19.) | | (1981),117-19.) |
| n | | n | @@PROCESS |
| 195 | | 195 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 600. Court cupboard with a lion | | 600. Court cupboard with a lion |
| and unicorn sejant, a pair of atlantes, | | and unicorn sejant, a pair of atlantes, |
| and a pair of griffins as supporters | | and a pair of griffins as supporters |
| n | | n | @@PROCESS |
| 127 cms. (height); 128.8 cms. (length); 47.5 cms. (width); | | 127 cms. (height); 128.8 cms. (length); 47.5 cms. (width); |
| 38.8 cms. (height of lion); 38.9 cms. (height of unicorn); | | 38.8 cms. (height of lion); 38.9 cms. (height of unicorn); |
| 43.5 cms. (height of griffins) | | 43.5 cms. (height of griffins) |
| Chiefly of oak and walnut. The carcass is of oak. Each supporter is | | Chiefly of oak and walnut. The carcass is of oak. Each supporter is |
| made from a separate block of walnut. There is a geometric veneer | | made from a separate block of walnut. There is a geometric veneer |
| of holly and sycamore with mahogany and burr walnut in the | | of holly and sycamore with mahogany and burr walnut in the |
| uppermost ffieze (part of which is also a drawer front). There is | | uppermost ffieze (part of which is also a drawer front). There is |
| also inlay of holly and sycamore and bog oak in the ccntra.I and lower | | also inlay of holly and sycamore and bog oak in the ccntra.I and lower |
| boards. The eyes of the animals are inlaid with bog oak (or an | | boards. The eyes of the animals are inlaid with bog oak (or an |
| imitation of it). The carvings are in places encrusted with darkened | | imitation of it). The carvings are in places encrusted with darkened |
| deposits of polish. The shield and crown held by the lion are | | deposits of polish. The shield and crown held by the lion are |
| chipped, partly because of worm damage. The proper left griffin's | | chipped, partly because of worm damage. The proper left griffin's |
| left wing is missing and its other wing has split but been reattached. | | left wing is missing and its other wing has split but been reattached. |
| The tat of the same griffin is loose. `1606' is carved in large letters | | The tat of the same griffin is loose. `1606' is carved in large letters |
| on the back of the uppermost ffieze. The upper board is a restoration | | on the back of the uppermost ffieze. The upper board is a restoration |
| as are the back and the base with the bun fcct and there is evidence | | as are the back and the base with the bun fcct and there is evidence |
| of other repairs and perhaps of reconstruction (see below). A bluc-bordercd | | of other repairs and perhaps of reconstruction (see below). A bluc-bordercd |
| paper label, on the top of the back of the principal upright | | paper label, on the top of the back of the principal upright |
| member, proper left, of the cupboard, is inscribed `w. E. MALLETr' | | member, proper left, of the cupboard, is inscribed `w. E. MALLETr' |
| in black ink. | | in black ink. |
| Given, together with fiftccn other pieces of furniture and some | | Given, together with fiftccn other pieces of furniture and some |
| pieces of tapestry and needlework, by Miss Elizabeth Mallett in | | pieces of tapestry and needlework, by Miss Elizabeth Mallett in |
| 1961 in memory of her parents Margaret (who died on 15 May | | 1961 in memory of her parents Margaret (who died on 15 May |
| 1959) and J. Francis Mallett (who died on 7 January 1947)-the | | 1959) and J. Francis Mallett (who died on 7 January 1947)-the |
| latter was a notable benefactor of the Museum. Redstered on 21 | | latter was a notable benefactor of the Museum. Redstered on 21 |
| September. Previously in the collection of J. F. Mallett who had, | | September. Previously in the collection of J. F. Mallett who had, |
| presumably, inherited it from his father-in-law and uncle William | | presumably, inherited it from his father-in-law and uncle William |
| Mallett-the W. E. Mallett of the label-n antique dealer in the | | Mallett-the W. E. Mallett of the label-n antique dealer in the |
| Octagon, Bath. According to the museum's ReSster it came in 1903 | | Octagon, Bath. According to the museum's ReSster it came in 1903 |
| from Boume Place, now Compton Place, Bexley, Sussex. | | from Boume Place, now Compton Place, Bexley, Sussex. |
| The `court cupboard' was the term employed in Elizabethan | | The `court cupboard' was the term employed in Elizabethan |
| and Jacobean inventories for an open three-tiered `buffct' or | | and Jacobean inventories for an open three-tiered `buffct' or |
| `dresser'. `Court' came from the French for short, and | | `dresser'. `Court' came from the French for short, and |
| `cupboard' meant a shelf for cups. They were used to display | | `cupboard' meant a shelf for cups. They were used to display |
| plate and also for serving. The shelves were covered with | | plate and also for serving. The shelves were covered with |
| carpet or some rich textile; the drawers contained knives and | | carpet or some rich textile; the drawers contained knives and |
| spoons. There is an exceuent discussion of the type in Ralph | | spoons. There is an exceuent discussion of the type in Ralph |
| Edwalds' s Dictionary Of English Fttrmitwre, 3 vo\s. (London, | | Edwalds' s Dictionary Of English Fttrmitwre, 3 vo\s. (London, |
| 1954), ii. 177-83. Most examples have decorated bulbous | | 1954), ii. 177-83. Most examples have decorated bulbous |
| supports but supporters in the form of heraldic or | | supports but supporters in the form of heraldic or |
| mythologival beasts are not unusual. Few, however, are as | | mythologival beasts are not unusual. Few, however, are as |
| vigorously charactcrizcd as those on the Ashmolcan's | | vigorously charactcrizcd as those on the Ashmolcan's |
| `cupboard' which was singlcd out as of exceptional quality in | | `cupboard' which was singlcd out as of exceptional quality in |
| Edwards's book (where it is fig.Ill on p.183) and was also | | Edwards's book (where it is fig.Ill on p.183) and was also |
| included in the Royal Academy's exhibition of British Art in | | included in the Royal Academy's exhibition of British Art in |
| 1934 (no.1267, illustrated as pl. 31 in the catalogue). The | | 1934 (no.1267, illustrated as pl. 31 in the catalogue). The |
| shields with the English rose and Scottish thistle place it after | | shields with the English rose and Scottish thistle place it after |
| the accession of King James I in 1603. It is also said to be | | the accession of King James I in 1603. It is also said to be |
| dated, although the first diSt of the `1606' must be an | | dated, although the first diSt of the `1606' must be an |
| addition and the `606' may have been an inventory number. | | addition and the `606' may have been an inventory number. |
| The Ashmolean's `cupboard' has also certainly been | | The Ashmolean's `cupboard' has also certainly been |
| restored and it cannot be assumed that it docs not incorporate | | restored and it cannot be assumed that it docs not incorporate |
| items from at least one other source. The atlantes which serve | | items from at least one other source. The atlantes which serve |
| n | | n | @@PROCESS |
| 196 | | 196 |
| as supporters behind the lion and unicoriLcannot have been | | as supporters behind the lion and unicoriLcannot have been |
| oriSnally intended to overlap the ornamental edge of the | | oriSnally intended to overlap the ornamental edge of the |
| board upon which they rest. Neither the lion, nor the unicorn, | | board upon which they rest. Neither the lion, nor the unicorn, |
| nor either griffin, make satisfactory contact with the frieze | | nor either griffin, make satisfactory contact with the frieze |
| above their heads: the lion's head has been made up at the top | | above their heads: the lion's head has been made up at the top |
| with wax (or some similar substance), and the unicorn's head | | with wax (or some similar substance), and the unicorn's head |
| appears to have been slightly cut down. | | appears to have been slightly cut down. |
| Among other similar `cupboards' that in the Victoria and | | Among other similar `cupboards' that in the Victoria and |
| Albert Museuni is particularly close (but has a cherub in place | | Albert Museuni is particularly close (but has a cherub in place |
| of the hon mask in the centre of the central frieze and cherubs | | of the hon mask in the centre of the central frieze and cherubs |
| in place of the male and female masks in the upper friczc | | in place of the male and female masks in the upper friczc |
| corner, also marble inlay in the upper frieze and caryatids in | | corner, also marble inlay in the upper frieze and caryatids in |
| place of atlantcs). The lion, unicorn, and griffins, however, | | place of atlantcs). The lion, unicorn, and griffins, however, |
| in that example have a sharpness in their carving which those | | in that example have a sharpness in their carving which those |
| in the Ashmolean's cupboard lack. A similar `cupboard' in | | in the Ashmolean's cupboard lack. A similar `cupboard' in |
| the Burrell Collection ( 14/432) fomcrly in Brandeston Hall | | the Burrell Collection ( 14/432) fomcrly in Brandeston Hall |
| has fine lion supporters which, it is interesting to note, do | | has fine lion supporters which, it is interesting to note, do |
| not fit any more neatly than those here. | | not fit any more neatly than those here. |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 197 | | 197 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 601. Four Ionic pilasters decorated | | 601. Four Ionic pilasters decorated |
| with caryatids attached to a pier | | with caryatids attached to a pier |
| 62 cms. (height of each); 86.5 cms. (height of table to which they | | 62 cms. (height of each); 86.5 cms. (height of table to which they |
| are attached) | | are attached) |
| Oak. | | Oak. |
| Provenance unknown. | | Provenance unknown. |
| The four pilasters are attached to the central octagonal pier | | The four pilasters are attached to the central octagonal pier |
| support of an octagonal oak table with one disguised drawer | | support of an octagonal oak table with one disguised drawer |
| in the gadrooned frieze. The table serves to support a case | | in the gadrooned frieze. The table serves to support a case |
| displaying some of Fortnum's collection of rings. It was | | displaying some of Fortnum's collection of rings. It was |
| assembled in the Museum's workshop for this purpose. Such | | assembled in the Museum's workshop for this purpose. Such |
| pilaster carvings could easily have been detached from | | pilaster carvings could easily have been detached from |
| damaged or cumbersome items of furniture but they survive | | damaged or cumbersome items of furniture but they survive |
| in suspicious quantities. These examples look like ninetccnth-century | | in suspicious quantities. These examples look like ninetccnth-century |
| imitations of Elizabethan or Jacobean carving, but | | imitations of Elizabethan or Jacobean carving, but |
| might be genuine. Fortnum owned a couple of pilasters of | | might be genuine. Fortnum owned a couple of pilasters of |
| similar character (but male and female whereas these are | | similar character (but male and female whereas these are |
| sexless) which he acquired from Pugiv. Hc had them `picked | | sexless) which he acquired from Pugiv. Hc had them `picked |
| out with Slding and mounted as pilasters to support a cornice | | out with Slding and mounted as pilasters to support a cornice |
| and form a frame to a looking glass' (prelininary catalogue | | and form a frame to a looking glass' (prelininary catalogue |
| (1857), 70, nos. 8 and 9, and visible in photographs of his | | (1857), 70, nos. 8 and 9, and visible in photographs of his |
| house). | | house). |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 602. Centre table with scrolled legs | | 602. Centre table with scrolled legs |
| terminating in female heads | | terminating in female heads |
| supporting cushions | | supporting cushions |
| 73.5 cms. (height of table); 9 cms. (height of each head); 97 cms. | | 73.5 cms. (height of table); 9 cms. (height of each head); 97 cms. |
| (length of table top); 61 cms. (width of table top) | | (length of table top); 61 cms. (width of table top) |
| Walnut. The legs and feet only are of solid walnut. The top, sides, | | Walnut. The legs and feet only are of solid walnut. The top, sides, |
| and stretchers are of walnut veneered on a carcass of pine. The | | and stretchers are of walnut veneered on a carcass of pine. The |
| seaweed marquetry of the table top and sides is of walnut on a | | seaweed marquetry of the table top and sides is of walnut on a |
| ground of sycamore. The moulded edge of the table top is veneered | | ground of sycamore. The moulded edge of the table top is veneered |
| in cross-grain walnut. A piece of walnut has been added to each of | | in cross-grain walnut. A piece of walnut has been added to each of |
| the four heads at the top of the legs (the join can be seen in the | | the four heads at the top of the legs (the join can be seen in the |
| proper left cheeks). The tasselled cushions arc carved out of separate | | proper left cheeks). The tasselled cushions arc carved out of separate |
| blocks of walnut. Much of the wood is bleached; there are also | | blocks of walnut. Much of the wood is bleached; there are also |
| cracks, stains, and scratches and some of the veneer has lifted. The | | cracks, stains, and scratches and some of the veneer has lifted. The |
| drawer has been repaired. A circular paper label with a fringed | | drawer has been repaired. A circular paper label with a fringed |
| border with the number 1113 in ink on it is stuck on the underside | | border with the number 1113 in ink on it is stuck on the underside |
| of the table top. | | of the table top. |
| Given to the Museum in 1958 (registered 18 June) from the | | Given to the Museum in 1958 (registered 18 June) from the |
| collection of J. Francis Mallett and as part of his bequest which | | collection of J. Francis Mallett and as part of his bequest which |
| came to the Museum in May 1947-in advance of the gift of further | | came to the Museum in May 1947-in advance of the gift of further |
| items of furniture made by Miss Ehizabeth Mallett in 1961 in | | items of furniture made by Miss Ehizabeth Mallett in 1961 in |
| memory of her parents. | | memory of her parents. |
| The marquetry is of a pattern popular in British finniture | | The marquetry is of a pattern popular in British finniture |
| around 1700, but the beauty of the heads with the ropes of | | around 1700, but the beauty of the heads with the ropes of |
| pearls in their hair is remarkable. There is an echo here of the | | pearls in their hair is remarkable. There is an echo here of the |
| silver furniture of the period such as the silver table with | | silver furniture of the period such as the silver table with |
| harpy legs made for King Charles 11 and now at Windsor | | harpy legs made for King Charles 11 and now at Windsor |
| Castle. Similar but larger female heads were popular in | | Castle. Similar but larger female heads were popular in |
| furniture made in about 1730 such as the term piers in the | | furniture made in about 1730 such as the term piers in the |
| Queen's Guard Chamber at Hampton Court. A side table in | | Queen's Guard Chamber at Hampton Court. A side table in |
| the Fitzwillian Museum, Cambridge (M4-196l ) which has | | the Fitzwillian Museum, Cambridge (M4-196l ) which has |
| both scrolled legs and heads of an antique character may be | | both scrolled legs and heads of an antique character may be |
| regarded as a rich and bold descendant of this one. | | regarded as a rich and bold descendant of this one. |
| IncludedinMissMallett'sgiftof1961wasalowboycabinet | | IncludedinMissMallett'sgiftof1961wasalowboycabinet |
| of seaweed marquetry of the same period and a chest of | | of seaweed marquetry of the same period and a chest of |
| drawers of floral marquetry of great richness on corkscrew | | drawers of floral marquetry of great richness on corkscrew |
| legs (see Appendix 2 to this volunc). | | legs (see Appendix 2 to this volunc). |
| n | | n | @@PROCESS |
| 199 | | 199 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 603. Relief bust portrait ofa Knight | | 603. Relief bust portrait ofa Knight |
| of the Garter | | of the Garter |
| 54 cms. (height); 48.4 cms. (width) | | 54 cms. (height); 48.4 cms. (width) |
| White Carrara marble, somewhat discoloured from ingrained dirt. | | White Carrara marble, somewhat discoloured from ingrained dirt. |
| The rim has been chipped below the chest. | | The rim has been chipped below the chest. |
| Provenance unrecorded. | | Provenance unrecorded. |
| The chain worn over the ermine is that of a Knight of the | | The chain worn over the ermine is that of a Knight of the |
| Garter. The sitter is hkely to bc one of the great Whig | | Garter. The sitter is hkely to bc one of the great Whig |
| magnates of the early eighteenth century but at no other | | magnates of the early eighteenth century but at no other |
| period in modern British history have artists made men look | | period in modern British history have artists made men look |
| so alike. It is not, in fact, impossible that King Gcorgc I is | | so alike. It is not, in fact, impossible that King Gcorgc I is |
| intended, for he was painted by Hudson in this style (with | | intended, for he was painted by Hudson in this style (with |
| long loose wig forward over one shoulder, lace jabot, garter | | long loose wig forward over one shoulder, lace jabot, garter |
| couar over ermine) and hc had a similar jowl and broad nose. | | couar over ermine) and hc had a similar jowl and broad nose. |
| The mouth however is larger in paindngs and prints of that | | The mouth however is larger in paindngs and prints of that |
| monarch. The carving looks like a copy by an artist of limited | | monarch. The carving looks like a copy by an artist of limited |
| ability made from a sculptural prototype or, more probably, | | ability made from a sculptural prototype or, more probably, |
| from a two-dimensional portrait. The management of the | | from a two-dimensional portrait. The management of the |
| emine collar suggests uncertainty as to the actual nature of | | emine collar suggests uncertainty as to the actual nature of |
| the garment represented and the truncation of the bust is | | the garment represented and the truncation of the bust is |
| unhappily managed. | | unhappily managed. |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 604 and 605. Pair of ewers | | 604 and 605. Pair of ewers |
| ornamented with garlands, scrolls, | | ornamented with garlands, scrolls, |
| masks, and fish | | masks, and fish |
| 34.4 cms. (height); 10.4 cms. (diameter of feet) | | 34.4 cms. (height); 10.4 cms. (diameter of feet) |
| The vases are composed of pieces of C¢¢.//o#Jc d'Eg¢.#o, a rare jasper | | The vases are composed of pieces of C¢¢.//o#Jc d'Eg¢.#o, a rare jasper |
| of the colour of coffee into which cream has been partially stirred, | | of the colour of coffee into which cream has been partially stirred, |
| figured in the paler bands with miniature branched black lines. | | figured in the paler bands with miniature branched black lines. |
| (For samples of this stone see the display in the Museo dell'Opificio | | (For samples of this stone see the display in the Museo dell'Opificio |
| delle Pictre Dure in Florence, Row G, 421nd, also A. 97 in the | | delle Pictre Dure in Florence, Row G, 421nd, also A. 97 in the |
| appendix of A. M. Giusti, P. Mazzoni, A.-P. Pampaloni Martclli, JJ | | appendix of A. M. Giusti, P. Mazzoni, A.-P. Pampaloni Martclli, JJ |
| Mu§eo dell'Opificio delle Pietre Dare (`FLorence. \978), afuc[ p. 364.) | | Mu§eo dell'Opificio delle Pietre Dare (`FLorence. \978), afuc[ p. 364.) |
| The jasper is mounted in ormolu (fire-Slt copper, rather than | | The jasper is mounted in ormolu (fire-Slt copper, rather than |
| bronze). The cagework around the body of each vase conceals the | | bronze). The cagework around the body of each vase conceals the |
| different pieces of jasper employed. These `cages' are each cast in | | different pieces of jasper employed. These `cages' are each cast in |
| two separate pieces. The cartouches containing masks of Pan (or at | | two separate pieces. The cartouches containing masks of Pan (or at |
| least a satyr) and masks of a nymph, also the dolphin-like fish, the | | least a satyr) and masks of a nymph, also the dolphin-like fish, the |
| ribbons, and the scrolls which are linked with them around the upper | | ribbons, and the scrolls which are linked with them around the upper |
| shoulder of each vase form one piece: the crossing garlands and the | | shoulder of each vase form one piece: the crossing garlands and the |
| divisions of the gadrooned swellings in the lower part of each vase | | divisions of the gadrooned swellings in the lower part of each vase |
| form another. The junctions between these pieces are no longer | | form another. The junctions between these pieces are no longer |
| perfect. The thinner elements of ormolu have probably been | | perfect. The thinner elements of ormolu have probably been |
| embossed before being chiselled. The outer rim of each foot with | | embossed before being chiselled. The outer rim of each foot with |
| miniature machined cable and guilloche ornament is a Later addition. | | miniature machined cable and guilloche ornament is a Later addition. |
| `M. ¥' and `M. ¥' are painted in black on the ctlt copper plates | | `M. ¥' and `M. ¥' are painted in black on the ctlt copper plates |
| beneath the feet. | | beneath the feet. |
| Bequeathed by J. Francis Mallett who died 7 January 1947. Received | | Bequeathed by J. Francis Mallett who died 7 January 1947. Received |
| in the Museum during the last week in May 1947. No.182 in the | | in the Museum during the last week in May 1947. No.182 in the |
| inventory of his bequest. Valued by Mallctt at £303. Acquired by | | inventory of his bequest. Valued by Mallctt at £303. Acquired by |
| him at the sale of the Folcy Heirlooms, Ruxley I.odge, 1919. In | | him at the sale of the Folcy Heirlooms, Ruxley I.odge, 1919. In |
| one of the ewers I found in 1986 a piece of crumpled paper with | | one of the ewers I found in 1986 a piece of crumpled paper with |
| `HEIRLooM 1869' printed in Gothic letters in a circle. This date | | `HEIRLooM 1869' printed in Gothic letters in a circle. This date |
| was crossed through and 1887 written in brown ink above it. This | | was crossed through and 1887 written in brown ink above it. This |
| in turn was also crossed through and `Baron Foley Ruxley h)dge, | | in turn was also crossed through and `Baron Foley Ruxley h)dge, |
| sold 1919' written above it in blue ink. The ewers had therefore | | sold 1919' written above it in blue ink. The ewers had therefore |
| belonged to the Foley family before 1869. The ewers were displayed | | belonged to the Foley family before 1869. The ewers were displayed |
| in the 1950s but had long been in store when they were put on | | in the 1950s but had long been in store when they were put on |
| exhibition in the Wcldon Gallery in 1985. | | exhibition in the Wcldon Gallery in 1985. |
| The basic shape of these ewers-the bold scroll of the handle | | The basic shape of these ewers-the bold scroll of the handle |
| and its fantastic oriSn in a realistic hen's foot clutching a | | and its fantastic oriSn in a realistic hen's foot clutching a |
| shell, also the gadrooning of the body-is reminiscent of | | shell, also the gadrooning of the body-is reminiscent of |
| ornamental plate of the seventeenth century, but the garlands | | ornamental plate of the seventeenth century, but the garlands |
| and, stu more, the asymmetrical scrolls of the cartouches and | | and, stu more, the asymmetrical scrolls of the cartouches and |
| the rock-work fringe to the mask of a river god below the | | the rock-work fringe to the mask of a river god below the |
| lips, which are all tooled with such finesse, indicate a date in | | lips, which are all tooled with such finesse, indicate a date in |
| the eightccnth century. Mallctt described the ewers as English | | the eightccnth century. Mallctt described the ewers as English |
| and of c.1740, presumably by analogy with work in silver: | | and of c.1740, presumably by analogy with work in silver: |
| similar Pan and nymph masks, cartouches, and fish are found, | | similar Pan and nymph masks, cartouches, and fish are found, |
| for instance, in the four candlesticks made by John Jacob in | | for instance, in the four candlesticks made by John Jacob in |
| the early 1740s (Ashmolcan Museum, Farrer Collection 114 | | the early 1740s (Ashmolcan Museum, Farrer Collection 114 |
| (i)-(iv) ) and the somewhat flat garlands are common in | | (i)-(iv) ) and the somewhat flat garlands are common in |
| tableware made by Paul de I.ancrie and others in this period. | | tableware made by Paul de I.ancrie and others in this period. |
| All these motifs, howcvcr, arc of continental origiv. Cagework | | All these motifs, howcvcr, arc of continental origiv. Cagework |
| was popular in the middle decades of the cightcenth century, | | was popular in the middle decades of the cightcenth century, |
| especially for gold boxes often in conjunction with a rare | | especially for gold boxes often in conjunction with a rare |
| jasper, or with agate, but on a much smaller scale. Some of | | jasper, or with agate, but on a much smaller scale. Some of |
| these boxes were made in I.ondon which again supports the | | these boxes were made in I.ondon which again supports the |
| idea that these ewers might be English. | | idea that these ewers might be English. |
| n | | n | @@PROCESS |
| 201 | | 201 |
| n | | n | @@PROCESS |
| 200 | | 200 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 202 | | 202 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 606. Bust portrait of a man | | 606. Bust portrait of a man |
| 59,.15 cms. (height) | | 59,.15 cms. (height) |
| Limestone thickly coated with shellac and paint perhaps intended to | | Limestone thickly coated with shellac and paint perhaps intended to |
| resemble bronze. The crust of these coverings has flaked off on the | | resemble bronze. The crust of these coverings has flaked off on the |
| lips, the end of the nose, the top of the forehead, and on some | | lips, the end of the nose, the top of the forehead, and on some |
| salient curls of the wig. A portion of the stone has broken away to | | salient curls of the wig. A portion of the stone has broken away to |
| proper right and only a part of this has been refixed. The stone has | | proper right and only a part of this has been refixed. The stone has |
| only been slightly hollowed behind. | | only been slightly hollowed behind. |
| Provenance unrecordcd. | | Provenance unrecordcd. |
| The stone would appear to be deteriorating and the coatings | | The stone would appear to be deteriorating and the coatings |
| may have been intended to arrest its crunbhng: they certainly | | may have been intended to arrest its crunbhng: they certainly |
| eliminate the little surface intcrcst that the bust is likely to | | eliminate the little surface intcrcst that the bust is likely to |
| have posscsscd. The bands and gown suggest a portrait of | | have posscsscd. The bands and gown suggest a portrait of |
| an academic and the bust may well have come from a local | | an academic and the bust may well have come from a local |
| church-perhaps from a dilapidated monument. It is similar | | church-perhaps from a dilapidated monument. It is similar |
| to the busts on many carly eighteenth-century monuments in | | to the busts on many carly eighteenth-century monuments in |
| Oxford. | | Oxford. |
| n | | n | @@PROCESS |
| 607. High-relief bust portrait of | | 607. High-relief bust portrait of |
| rig James 11 | | rig James 11 |
| 15.2 cms. (height of bust); 20.6 cms. (height of visible relief); | | 15.2 cms. (height of bust); 20.6 cms. (height of visible relief); |
| 18 cms. (width of visible relief); 28 cms. (height of shadow box); | | 18 cms. (width of visible relief); 28 cms. (height of shadow box); |
| 24.5 cms. (width of shadow box); 25.5 cms. (height of class | | 24.5 cms. (width of shadow box); 25.5 cms. (height of class |
| support); 21.8 cms. (width of glass support) | | support); 21.8 cms. (width of glass support) |
| The bust is of coloured wax, slightly hollow. It has come loose from | | The bust is of coloured wax, slightly hollow. It has come loose from |
| its glass support (but has been photographed in place). The support | | its glass support (but has been photographed in place). The support |
| is painted with thin coloured wax and also built up in low relief. | | is painted with thin coloured wax and also built up in low relief. |
| There is a dent and crack to the end of the nose which has also lost | | There is a dent and crack to the end of the nose which has also lost |
| its colour. A portion of one of the low-relief curtain ropes has been | | its colour. A portion of one of the low-relief curtain ropes has been |
| lost. The thin wax of the sky has crinkled perhaps from heat. The | | lost. The thin wax of the sky has crinkled perhaps from heat. The |
| support is set within a deep tray frame of pine stained black. This is | | support is set within a deep tray frame of pine stained black. This is |
| probably original, and is enclosed in a shadow box (not | | probably original, and is enclosed in a shadow box (not |
| photographed) of the same date, also of pine stained black, with | | photographed) of the same date, also of pine stained black, with |
| glossy black paint around an oval aperture. `RING JAMES 11' has been | | glossy black paint around an oval aperture. `RING JAMES 11' has been |
| written at a later date in gold letters on the lower part of the glass. | | written at a later date in gold letters on the lower part of the glass. |
| On the backboard there is an old deteriorating paper label inscribed | | On the backboard there is an old deteriorating paper label inscribed |
| `3474.1887' in ink. The number is repeated in pencil with a note | | `3474.1887' in ink. The number is repeated in pencil with a note |
| also in pencil in the hand of C. F. Bell (see below). | | also in pencil in the hand of C. F. Bell (see below). |
| Presumably transferred to the University Galleries in 1887 ( see | | Presumably transferred to the University Galleries in 1887 ( see |
| above) perhaps from the Bodleian Library or the old Ashmolean | | above) perhaps from the Bodleian Library or the old Ashmolean |
| Museum. | | Museum. |
| The note by C. F. Bell on the backboard is that `At Sudeley | | The note by C. F. Bell on the backboard is that `At Sudeley |
| Castle, Gloucestershire there are a number of wax portraits | | Castle, Gloucestershire there are a number of wax portraits |
| precisely similar in style to the present. The fact that some of | | precisely similar in style to the present. The fact that some of |
| these represent personages of the late XVIII century period | | these represent personages of the late XVIII century period |
| shows that this work also is of that date.' The portrait may | | shows that this work also is of that date.' The portrait may |
| also be compared with those of Mary and Agncs Berry in the | | also be compared with those of Mary and Agncs Berry in the |
| Victoria and Albert Museum attributed to Samuel Percy who | | Victoria and Albert Museum attributed to Samuel Percy who |
| died in 1820 (A. 13 and A. 14-1970). The wax may well bc | | died in 1820 (A. 13 and A. 14-1970). The wax may well bc |
| carlicr in date: these comparisons may only indicate the | | carlicr in date: these comparisons may only indicate the |
| durability of conventions and techniques, but the franc and | | durability of conventions and techniques, but the franc and |
| shadow box look original and arc typical of the late eighteenth | | shadow box look original and arc typical of the late eighteenth |
| century: in particular the dosry black paint on the glass was | | century: in particular the dosry black paint on the glass was |
| popular at that date especially for framing prints. | | popular at that date especially for framing prints. |
| n | | n | @@PROCESS |
| 203 | | 203 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 204 | | 204 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 608. Urn with vine tendril handles | | 608. Urn with vine tendril handles |
| 34.3 cms. (height); 19.2 cms. (width, across handles); 17.2 cms. | | 34.3 cms. (height); 19.2 cms. (width, across handles); 17.2 cms. |
| (height of handles); I.85 cms. (diameter of plinth) | | (height of handles); I.85 cms. (diameter of plinth) |
| The urn is composed of three pieces of Derbyshire fluorspar (blue-john) | | The urn is composed of three pieces of Derbyshire fluorspar (blue-john) |
| each of which, to judge by the weight, is solid. The pieces, | | each of which, to judge by the weight, is solid. The pieces, |
| which arc securely fixed, consist of the concave tapering lid; a disc | | which arc securely fixed, consist of the concave tapering lid; a disc |
| immediately below it, separated by a thin collar of moulding; and the | | immediately below it, separated by a thin collar of moulding; and the |
| main body of the urn. The base, handles, finial, and other ornaments | | main body of the urn. The base, handles, finial, and other ornaments |
| are all of bronze, fire-gilded. The base consists of three separately | | are all of bronze, fire-gilded. The base consists of three separately |
| worked elements: plinth, foot, and acanthus. Each handle is of a | | worked elements: plinth, foot, and acanthus. Each handle is of a |
| single piece. | | single piece. |
| Bequeathed by Major T. Bouch, 1963. Received by the Museum | | Bequeathed by Major T. Bouch, 1963. Received by the Museum |
| on 20 November 1963. For more on the bequest see Nos. 451, | | on 20 November 1963. For more on the bequest see Nos. 451, |
| n | | n | @@PROCESS |
| 452, 469. Lent to the City Art Museum, Derby, on 27 May 1981. | | 452, 469. Lent to the City Art Museum, Derby, on 27 May 1981. |
| The workmanship and design of this urn are of superlative | | The workmanship and design of this urn are of superlative |
| quality: the minute punched texturing of the bay, acanthus, | | quality: the minute punched texturing of the bay, acanthus, |
| and vine leaves is as fine as their modelling is crisp. In style it | | and vine leaves is as fine as their modelling is crisp. In style it |
| resembles the best work known to have been produced at the | | resembles the best work known to have been produced at the |
| Soho factory near Birmingham in the early 1770s. This factory, | | Soho factory near Birmingham in the early 1770s. This factory, |
| cstablishcd in 1762 by Matthew Boulton in partnership with | | cstablishcd in 1762 by Matthew Boulton in partnership with |
| John Fothergill, made many varieties of hardware but began | | John Fothergill, made many varieties of hardware but began |
| in 1768 to specialize in ormolu. In that same year Boulton | | in 1768 to specialize in ormolu. In that same year Boulton |
| began looking for attractive vase bodies. He toyed with the | | began looking for attractive vase bodies. He toyed with the |
| idea of porcelain oncs, but in 1768 he was actively acquiring | | idea of porcelain oncs, but in 1768 he was actively acquiring |
| blue-john and in the following spring he acquired 14 tons of | | blue-john and in the following spring he acquired 14 tons of |
| it. The stone was at first worked at Soho but was later supplied | | it. The stone was at first worked at Soho but was later supplied |
| in the form required by local Derbyshire craftsmen (N. | | in the form required by local Derbyshire craftsmen (N. |
| Goodison. Ormoltt: The Work Of Matthew? Bot4lton (-hondon, | | Goodison. Ormoltt: The Work Of Matthew? Bot4lton (-hondon, |
| 1974), 25, 27, 29-30, 75nd). An idea of the factory's goods | | 1974), 25, 27, 29-30, 75nd). An idea of the factory's goods |
| in `radix amethysti' (as the stone was pretentiously marketed) | | in `radix amethysti' (as the stone was pretentiously marketed) |
| and `or moulu' during the first years of production may be | | and `or moulu' during the first years of production may be |
| obtained from the large sale held 11-13 April 1771 at | | obtained from the large sale held 11-13 April 1771 at |
| Christic's. It is clear from another large sale held at Christie's | | Christic's. It is clear from another large sale held at Christie's |
| in May 1778 that the basic range of products had not changed | | in May 1778 that the basic range of products had not changed |
| (ibid., Appendix IV, pp. 242nd8). Production diminished | | (ibid., Appendix IV, pp. 242nd8). Production diminished |
| thereafter and ceased in the 1780s. Most of their vases were | | thereafter and ceased in the 1780s. Most of their vases were |
| `candle vases', that is fitted with branches for candles, or were | | `candle vases', that is fitted with branches for candles, or were |
| `essencc pots' (perfume burners) or `sugar dishcs'. No vase | | `essencc pots' (perfume burners) or `sugar dishcs'. No vase |
| made by them has exactly the form of handle or finial or shape | | made by them has exactly the form of handle or finial or shape |
| of plinth found in the Ashmolean's exanplc. The fact that | | of plinth found in the Ashmolean's exanplc. The fact that |
| the material is English suggests that the vase was made in | | the material is English suggests that the vase was made in |
| England by one of Boulton's rivals or successors. It is not | | England by one of Boulton's rivals or successors. It is not |
| impossible that it was made in France, but it should be pointed | | impossible that it was made in France, but it should be pointed |
| out that there is no evidence to support the claim that the | | out that there is no evidence to support the claim that the |
| French were the first to exploit bluciohn extensively for high-quality | | French were the first to exploit bluciohn extensively for high-quality |
| omanental work and very httle evidence that they used | | omanental work and very httle evidence that they used |
| the material at all. Had they been employing it in the 1760s | | the material at all. Had they been employing it in the 1760s |
| Boulton would surely have mentioned the fact. The only | | Boulton would surely have mentioned the fact. The only |
| reference known to me to what must be blue-john in a French | | reference known to me to what must be blue-john in a French |
| collection is the `coupe avcc son pied de spath fluor | | collection is the `coupe avcc son pied de spath fluor |
| d'Angleterre, rubann€e blanc, rouge et violet; unc autrc idem, | | d'Angleterre, rubann€e blanc, rouge et violet; unc autrc idem, |
| forme de gobclct a pied, avec une arse et bordurc cn or, la | | forme de gobclct a pied, avec une arse et bordurc cn or, la |
| cuillere de memc, un petit seau aussi dc spath fluor violet ct | | cuillere de memc, un petit seau aussi dc spath fluor violet ct |
| blanc avec son ansc et cuillere cn argcnt' recorded in the | | blanc avec son ansc et cuillere cn argcnt' recorded in the |
| collection of Queen Marie-Antoinettc in 1789 (A. Tuetey, | | collection of Queen Marie-Antoinettc in 1789 (A. Tuetey, |
| `Invcntairc des laques anciennes ct des objets de curiosit€ de | | `Invcntairc des laques anciennes ct des objets de curiosit€ de |
| Ma]ie-An:toin€tte' , Nowelles Archives de l'art fhan§ais | | Ma]ie-An:toin€tte' , Nowelles Archives de l'art fhan§ais |
| ( 1916), 286-319). But Maric-Antoinette was an avid | | ( 1916), 286-319). But Maric-Antoinette was an avid |
| collector of rarities and these might have been sent from | | collector of rarities and these might have been sent from |
| England. The claim is made by Francis Watson in his | | England. The claim is made by Francis Watson in his |
| catalogue of the furniture in the Wanacc Collection of 1956 | | catalogue of the furniture in the Wanacc Collection of 1956 |
| that a pair of vases and a ewer (F345, 346, 347), and a pair | | that a pair of vases and a ewer (F345, 346, 347), and a pair |
| of candelabra (F158 and 159) are examples of blue-john | | of candelabra (F158 and 159) are examples of blue-john |
| mounted in eighteenth-century France. The candelabra are | | mounted in eighteenth-century France. The candelabra are |
| not of blue-john (and may also be English and indeed | | not of blue-john (and may also be English and indeed |
| ninetccnth century). The ewer (F345) is a pastiche, | | ninetccnth century). The ewer (F345) is a pastiche, |
| combining in an unconvincing manner an carly eighteenth-century | | combining in an unconvincing manner an carly eighteenth-century |
| shape with late eighteenth-century French ornaments | | shape with late eighteenth-century French ornaments |
| in a manner typical of the ninctcenth-century English makers | | in a manner typical of the ninctcenth-century English makers |
| and docs not really belong with the vases. The vases (F346 | | and docs not really belong with the vases. The vases (F346 |
| and 347) have extensively restored bodies, including portions | | and 347) have extensively restored bodies, including portions |
| of painted plaster, and the mounts may well bc additions or | | of painted plaster, and the mounts may well bc additions or |
| restorations of the same period-in any case there is no proof | | restorations of the same period-in any case there is no proof |
| that they arc French. More significant is a blue-john urn | | that they arc French. More significant is a blue-john urn |
| band-clock with a French movcmcnt in the Fitzwilliam | | band-clock with a French movcmcnt in the Fitzwilliam |
| Museum, Cambridge ( 10-1948).>+\, ij'firiffriELi:`fy | | Museum, Cambridge ( 10-1948).>+\, ij'firiffriELi:`fy |
| n | | n | @@PROCESS |
| 205 | | 205 |
| BRITISH SCULPTURES, BY ARTISTS NAME | | BRITISH SCULPTURES, BY ARTISTS NAME |
| n | | n | @@PROCESS |
| 609. Urn with handles a la grecque | | 609. Urn with handles a la grecque |
| 32.5 cms. (height); 20.5 cms. (width, across handles); 10.8 cms. | | 32.5 cms. (height); 20.5 cms. (width, across handles); 10.8 cms. |
| (length and width of plinth) | | (length and width of plinth) |
| The urn is composed of two pieces of Derbyshire fluorspar (blue-john)- | | The urn is composed of two pieces of Derbyshire fluorspar (blue-john)- |
| the body and the lid with its concave neck-ach of which, | | the body and the lid with its concave neck-ach of which, |
| to judge by the weight, is solid. They are securely fixed, the join | | to judge by the weight, is solid. They are securely fixed, the join |
| reinforced by the handles which are, together with the base and finial, | | reinforced by the handles which are, together with the base and finial, |
| of bronze, fire-gilded. The plinth of the base is separately worked. | | of bronze, fire-gilded. The plinth of the base is separately worked. |
| A large F and `N 4/ 0 / i 3 pieces' is written in ink on a piece of | | A large F and `N 4/ 0 / i 3 pieces' is written in ink on a piece of |
| wood jammed inside the phnth. | | wood jammed inside the phnth. |
| Bequeathed by Major T. Bouch, 1963. Received by the Museum | | Bequeathed by Major T. Bouch, 1963. Received by the Museum |
| on 20 November 1963. For more on the bequest see Nos. 451, | | on 20 November 1963. For more on the bequest see Nos. 451, |
| n | | n | @@PROCESS |
| 452, 469, 608. Lent to the City Art Museum, Derby, on 27 May | | 452, 469, 608. Lent to the City Art Museum, Derby, on 27 May |
| 1981. | | 1981. |
| The workmanship and design of this urn are of very high | | The workmanship and design of this urn are of very high |
| quality. In style it is comparable with the work known to | | quality. In style it is comparable with the work known to |
| n | | n | @@PROCESS |
| 206 | | 206 |
| have been produced at Boulton's Soho factory in the early | | have been produced at Boulton's Soho factory in the early |
| 1770s (for which scc No. 608). The relatively large size of | | 1770s (for which scc No. 608). The relatively large size of |
| the handles, slender foot, and sharp water-leaf ornament of | | the handles, slender foot, and sharp water-leaf ornament of |
| the foot is reminiscent of some of the designs favoured by | | the foot is reminiscent of some of the designs favoured by |
| Boulton and the angular style of handle is found on a type of | | Boulton and the angular style of handle is found on a type of |
| branched candle vase made at Soho. The details, however, | | branched candle vase made at Soho. The details, however, |
| cannot be exactly matched in any documented work by | | cannot be exactly matched in any documented work by |
| Boulton's factory. It was probably, like No. 608, made by a | | Boulton's factory. It was probably, like No. 608, made by a |
| rival English firm. It is not impossible that the urn was made | | rival English firm. It is not impossible that the urn was made |
| in France: certainly the blue-john urn band-clock with a | | in France: certainly the blue-john urn band-clock with a |
| French movement in the Fitzwilliam Museum, Cambridge | | French movement in the Fitzwilliam Museum, Cambridge |
| ( 10-1948 ) has very similar handles. | | ( 10-1948 ) has very similar handles. |
| The fluorspar employed for this urn is of a very unusual | | The fluorspar employed for this urn is of a very unusual |
| character: consistent alike in colour and texture, resembling | | character: consistent alike in colour and texture, resembling |
| a yellow melon, but with one band (about 6 cms. in width) | | a yellow melon, but with one band (about 6 cms. in width) |
| of deep mauve passing down one side of the body. The band | | of deep mauve passing down one side of the body. The band |
| is also featured on the lid, where it is not quite aligned, which | | is also featured on the lid, where it is not quite aligned, which |
| shows that this was cut from the same lump of fluorspar. | | shows that this was cut from the same lump of fluorspar. |
| BRITISH SCULPTURES, BY ARTISTS NAME | | BRITISH SCULPTURES, BY ARTISTS NAME |
| n | | n | @@PROCESS |
| 610 and 611. A pair of vase | | 610 and 611. A pair of vase |
| candlesticks on tripod supports | | candlesticks on tripod supports |
| (only one traced) | | (only one traced) |
| 19.3 cms. (height); 10.1 cms. (diameter of plinth) | | 19.3 cms. (height); 10.1 cms. (diameter of plinth) |
| Each leg of the tripod is cast in bronze with a dark brown patina. | | Each leg of the tripod is cast in bronze with a dark brown patina. |
| The `egg' supported and the plinth and part of the lid are of white | | The `egg' supported and the plinth and part of the lid are of white |
| Carrara marble. The egg is partially hollowed. The other elements | | Carrara marble. The egg is partially hollowed. The other elements |
| are all of fire-allt bronze or copper, some of it machined. The | | are all of fire-allt bronze or copper, some of it machined. The |
| marble part of the lid has been shattered but only chips are missing. | | marble part of the lid has been shattered but only chips are missing. |
| The cover reverses to form a nozzle. `B.-39.e' is painted in black | | The cover reverses to form a nozzle. `B.-39.e' is painted in black |
| around the rim of the marble `egg' concealed by the lid. `FORTNUM | | around the rim of the marble `egg' concealed by the lid. `FORTNUM |
| 8' is faintly scratched on the upper surface of the plinth. | | 8' is faintly scratched on the upper surface of the plinth. |
| Bequeathed by Charles Drury Fortnum in 1899 as a pair (mos. 8. | | Bequeathed by Charles Drury Fortnum in 1899 as a pair (mos. 8. |
| 1038 and 1039 in his large manuscript catalogue). Noted by him | | 1038 and 1039 in his large manuscript catalogue). Noted by him |
| as a gift from Mrs F. W. Hope. The loss of the companion candlestick | | as a gift from Mrs F. W. Hope. The loss of the companion candlestick |
| (611 ) was not recorded before work commenced on this catalogue | | (611 ) was not recorded before work commenced on this catalogue |
| (in 1986). | | (in 1986). |
| Fortnum owned a similar pair of candlesticks (nos. 1040 and | | Fortnum owned a similar pair of candlesticks (nos. 1040 and |
| 1041 in his large manuscript catalogue) which were not | | 1041 in his large manuscript catalogue) which were not |
| included in his bequest. An exceptional miniature pair of | | included in his bequest. An exceptional miniature pair of |
| ceramic candlesticks of similar character were included in the | | ceramic candlesticks of similar character were included in the |
| bequest to the Ashmolcan Museum of J. Francis Mallett | | bequest to the Ashmolcan Museum of J. Francis Mallett |
| (Nos. 266, 267). | | (Nos. 266, 267). |
| The type and size of candlestick arc not uncommon, but | | The type and size of candlestick arc not uncommon, but |
| there are numerous variations. The `cggs' can be of dark | | there are numerous variations. The `cggs' can be of dark |
| patinated bronze with ormolu leaves (Christie's, I.ondon, 6 | | patinated bronze with ormolu leaves (Christie's, I.ondon, 6 |
| November 1986, lot 63, or Christie's, New York, 25 October | | November 1986, lot 63, or Christie's, New York, 25 October |
| 1986, lot 30). The central support below the `egg' can have | | 1986, lot 30). The central support below the `egg' can have |
| a snake twisted around it (Christie's, Orchardleich Park, | | a snake twisted around it (Christie's, Orchardleich Park, |
| Somerset, 21-2 September 1987, lot 406). The chains here | | Somerset, 21-2 September 1987, lot 406). The chains here |
| suspended from the goats' heads in the frieze on top of the | | suspended from the goats' heads in the frieze on top of the |
| `egg' sometimes take the form of beads-and hang either | | `egg' sometimes take the form of beads-and hang either |
| from simple studs or from the goats' heads on top of the legs | | from simple studs or from the goats' heads on top of the legs |
| or from both. Also, the mouldings are often varied as are the | | or from both. Also, the mouldings are often varied as are the |
| areas of patinated or art bronze. In some models on the | | areas of patinated or art bronze. In some models on the |
| continent (for instance the pair in the Six Huis iinsterdam) | | continent (for instance the pair in the Six Huis iinsterdam) |
| the cap is topped with Slt bronze roses forming nozzles. | | the cap is topped with Slt bronze roses forming nozzles. |
| The popularity of this type of candlestick in England is | | The popularity of this type of candlestick in England is |
| sufficient to justify the assumption that they were made | | sufficient to justify the assumption that they were made |
| here-an assumption found in auction catalogues where they | | here-an assumption found in auction catalogues where they |
| are generally described as `Gcorge 111'. They may well have | | are generally described as `Gcorge 111'. They may well have |
| been imitated later in the nineteenth century. They reflect a | | been imitated later in the nineteenth century. They reflect a |
| fashion for slender tripods, miniature animal heads, spiral | | fashion for slender tripods, miniature animal heads, spiral |
| snakes, dchicate branches, and pendant chains and beads | | snakes, dchicate branches, and pendant chains and beads |
| created by the leading French bronziers such as Gouthiere | | created by the leading French bronziers such as Gouthiere |
| and Pierre-Phhippe Thomire in the 1780s and associated with | | and Pierre-Phhippe Thomire in the 1780s and associated with |
| `le gout etrusque'. These fragle open forms of the metalwork | | `le gout etrusque'. These fragle open forms of the metalwork |
| and the minimal support they provided were often dramatized | | and the minimal support they provided were often dramatized |
| by a cup or `cgg' of marble or of a semi-precious stone (or | | by a cup or `cgg' of marble or of a semi-precious stone (or |
| of a ceramic imitation of one or the other). Splendid and | | of a ceramic imitation of one or the other). Splendid and |
| elaborate exanplcs, which may be considered as distant royal | | elaborate exanplcs, which may be considered as distant royal |
| relatives of the Ashmolcan's candlesticks, arc the tripod | | relatives of the Ashmolcan's candlesticks, arc the tripod |
| candelabra with a lapis `egg' in the Wallace Collection (F | | candelabra with a lapis `egg' in the Wallace Collection (F |
| n | | n | @@PROCESS |
| 132 ) or the vase with tripod stand in the J. Paul Getty Museum | | 132 ) or the vase with tripod stand in the J. Paul Getty Museum |
| (70.DE. I 15), both illustrated, with related pieces, in H. | | (70.DE. I 15), both illustrated, with related pieces, in H. |
| Ottomeycr and P. Pr6schel (eds. ), Vc#g7o/defg Bro"2;c„, 2 vols. | | Ottomeycr and P. Pr6schel (eds. ), Vc#g7o/defg Bro"2;c„, 2 vols. |
| (Munich, 1986), i. 264 and 268. | | (Munich, 1986), i. 264 and 268. |
| EEEE- | | EEEE- |
| 2/fJr/ | | 2/fJr/ |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 612 and 613. Pair of hall tables with | | 612 and 613. Pair of hall tables with |
| lotus leaf supports (only one | | lotus leaf supports (only one |
| illustrated) | | illustrated) |
| 82.5 cms. (height); 112 cms. (length); 75 cms. (width) | | 82.5 cms. (height); 112 cms. (length); 75 cms. (width) |
| The supporting members are of solid carved walnut. The plinths are | | The supporting members are of solid carved walnut. The plinths are |
| of richly figured rosewood veneered on to a carcass of pine. The | | of richly figured rosewood veneered on to a carcass of pine. The |
| upper surface of the plinth is veneered with two figured pieces in a | | upper surface of the plinth is veneered with two figured pieces in a |
| symmetrical book-matched pattern. The edges of the table tops are | | symmetrical book-matched pattern. The edges of the table tops are |
| of wood, probably pine, gilded and carry applied composition | | of wood, probably pine, gilded and carry applied composition |
| omanents, also gilt. The edging of the slabs of porphyry is of | | omanents, also gilt. The edging of the slabs of porphyry is of |
| ormolu. | | ormolu. |
| Bought at the Stowe sale, 1920. The tables stood in the state drawing | | Bought at the Stowe sale, 1920. The tables stood in the state drawing |
| room at Stowe, | | room at Stowe, |
| The tables are likely to date from about 181040 when both | | The tables are likely to date from about 181040 when both |
| composition ornament and rosewood veneer were particularly | | composition ornament and rosewood veneer were particularly |
| popular and the severe sculptural ideals represented by | | popular and the severe sculptural ideals represented by |
| furniture such as that of Thomas Hope (see Nos. 522-3) | | furniture such as that of Thomas Hope (see Nos. 522-3) |
| were replaced with a gross opulence, well represented by the | | were replaced with a gross opulence, well represented by the |
| heavy outline of the curves of these supports, the fat rolls of | | heavy outline of the curves of these supports, the fat rolls of |
| n | | n | @@PROCESS |
| 208 | | 208 |
| the framing mouldings, and the overlapping fleshy lotus leaves | | the framing mouldings, and the overlapping fleshy lotus leaves |
| within them. The `marblc' slabs have been described as | | within them. The `marblc' slabs have been described as |
| imperial porphyry, but if so are of an oddly irregular grain | | imperial porphyry, but if so are of an oddly irregular grain |
| and brown colour: they are in fact more hkcly to be one of | | and brown colour: they are in fact more hkcly to be one of |
| the native British stones promoted by George Bullock of | | the native British stones promoted by George Bullock of |
| Liverpool, sculptor, cabinet maker, and entrepreneur ( see | | Liverpool, sculptor, cabinet maker, and entrepreneur ( see |
| Nos. 453, 454), who exploited the Mona Marble quarries on | | Nos. 453, 454), who exploited the Mona Marble quarries on |
| Anglesey which supplied types of stone said to emulate | | Anglesey which supplied types of stone said to emulate |
| oriental (that is ancient Egyptian `imperial') porphyry and | | oriental (that is ancient Egyptian `imperial') porphyry and |
| 77crde ¢7¢£¢.co. Bullock moved to Ijondon in 1813 where the | | 77crde ¢7¢£¢.co. Bullock moved to Ijondon in 1813 where the |
| Mona Marble works opened its showrooms in 1814 but wen | | Mona Marble works opened its showrooms in 1814 but wen |
| bcforc this date he had been supplying wood and ormolu | | bcforc this date he had been supplying wood and ormolu |
| furniture, marble chimney-pieces, and artificial stone lamps to | | furniture, marble chimney-pieces, and artificial stone lamps to |
| customers all over Britain. His Anglesey marble is first | | customers all over Britain. His Anglesey marble is first |
| mentioned in 1806 (C. Wainwright (ed. ), GcoffgG B#//ocfe, | | mentioned in 1806 (C. Wainwright (ed. ), GcoffgG B#//ocfe, |
| C¢4¢.#cf 44l¢4Gy (I.ondon, 1988), 21-2). Whilst it is possible | | C¢4¢.#cf 44l¢4Gy (I.ondon, 1988), 21-2). Whilst it is possible |
| that these tables were made in his workshops there are no | | that these tables were made in his workshops there are no |
| precise analodes with any furniture documcnted as designed | | precise analodes with any furniture documcnted as designed |
| by him. The tables were fitted with brass-framed glass cases | | by him. The tables were fitted with brass-framed glass cases |
| made by the firm of Frederick Sage and Company under the | | made by the firm of Frederick Sage and Company under the |
| Kccpership of C. F. Bell and have retained these ever since. | | Kccpership of C. F. Bell and have retained these ever since. |
| They have, it seems, always been used to display bronzes | | They have, it seems, always been used to display bronzes |
| from the Fortnum Collection. | | from the Fortnum Collection. |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 614. Portrait bust of Sir Walter | | 614. Portrait bust of Sir Walter |
| Scott | | Scott |
| 6.45 cms. (height of bust); 12.4 cms. (diameter of board) | | 6.45 cms. (height of bust); 12.4 cms. (diameter of board) |
| Bronze with a dark brown patina. Hollow, sand-cast. The cavity | | Bronze with a dark brown patina. Hollow, sand-cast. The cavity |
| under the bust has been filled with another metal and filed. The | | under the bust has been filled with another metal and filed. The |
| bust is mounted on a circular board of pine as if in high relief, but | | bust is mounted on a circular board of pine as if in high relief, but |
| the back of the head has in fact been let into the board. `Sir W. Scott' | | the back of the head has in fact been let into the board. `Sir W. Scott' |
| is painted crudely in black on the reverse of the board. | | is painted crudely in black on the reverse of the board. |
| The bronze is kept in the Heberden Coin Room as part of the | | The bronze is kept in the Heberden Coin Room as part of the |
| collection of medals purchased in 1953 from Colonel Michael H. | | collection of medals purchased in 1953 from Colonel Michael H. |
| Grant (whose catalogue lists portraits of scott on p.156). | | Grant (whose catalogue lists portraits of scott on p.156). |
| The bust appears to be a companion with Nos. 615 and 616. | | The bust appears to be a companion with Nos. 615 and 616. |
| n | | n | @@PROCESS |
| 615. Portrait bust of King George | | 615. Portrait bust of King George |
| Ill | | Ill |
| 6.8 cms. (height of bust); 12.4 cms. (diameter of board) | | 6.8 cms. (height of bust); 12.4 cms. (diameter of board) |
| Bronze with a dark brown patina with traces of Slding. Hollow, | | Bronze with a dark brown patina with traces of Slding. Hollow, |
| sand-cast. The cavity under the bust has been filled with another | | sand-cast. The cavity under the bust has been filled with another |
| metal and filed. The bust is mounted on a circular board of pine as | | metal and filed. The bust is mounted on a circular board of pine as |
| if in high relief, but the back of the head has in fact been let into the | | if in high relief, but the back of the head has in fact been let into the |
| board. `Geo 111' is painted crudely in black on the reverse of the | | board. `Geo 111' is painted crudely in black on the reverse of the |
| board. | | board. |
| The bronze is kept in the Hebcrden Coin Room as part of the | | The bronze is kept in the Hebcrden Coin Room as part of the |
| collection of medals purchased in 1953 from Colonel Michael H. | | collection of medals purchased in 1953 from Colonel Michael H. |
| Grant (whose catalogue lists several anonymous portraits of the king, | | Grant (whose catalogue lists several anonymous portraits of the king, |
| p.180). | | p.180). |
| The bust appears to bc a companion with Nos. 614 and 616. | | The bust appears to bc a companion with Nos. 614 and 616. |
| n | | n | @@PROCESS |
| 209 | | 209 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 616. Portrait bust of King George | | 616. Portrait bust of King George |
| IV | | IV |
| 7.8 cms. (height of bust); 12.4 cms. (diameter of board) | | 7.8 cms. (height of bust); 12.4 cms. (diameter of board) |
| Bronze with a rusty brown patina and traces of black varnish. | | Bronze with a rusty brown patina and traces of black varnish. |
| Hollow, sand-cast. The cavity under the bust has been filled with | | Hollow, sand-cast. The cavity under the bust has been filled with |
| another metal and filed. The bust is mounted on a circular board of | | another metal and filed. The bust is mounted on a circular board of |
| pine as if in high relief, but the back of the head has in fact been let | | pine as if in high relief, but the back of the head has in fact been let |
| into the board. `Geo IV' is painted crudely in black on the reverse | | into the board. `Geo IV' is painted crudely in black on the reverse |
| of the board. | | of the board. |
| The bronze is kept in the Heberden Coin Room as part of the | | The bronze is kept in the Heberden Coin Room as part of the |
| collection of medals purchased in 1953 from Colonel Michael H. | | collection of medals purchased in 1953 from Colonel Michael H. |
| Grant (whose catalogue lists 14 anonymous portraits of the king, | | Grant (whose catalogue lists 14 anonymous portraits of the king, |
| p.181). | | p.181). |
| The bust appears to be a companion with Nos. 614 and 615. | | The bust appears to be a companion with Nos. 614 and 615. |
| n | | n | @@PROCESS |
| 210 | | 210 |
| n | | n | @@PROCESS |
| 617. Portrait head in relief of | | 617. Portrait head in relief of |
| Althur Weuesley, lst duke of | | Althur Weuesley, lst duke of |
| Wellington | | Wellington |
| 15.5 cms. (height of head); 22.8 cms. (diameter of backplate) | | 15.5 cms. (height of head); 22.8 cms. (diameter of backplate) |
| Bronze with a black vanish worn in some salient parts to brown. | | Bronze with a black vanish worn in some salient parts to brown. |
| Heavy sand-cast, open behind. Mounted on a circular plate of steel. | | Heavy sand-cast, open behind. Mounted on a circular plate of steel. |
| There is a hole in the top of the back approximately 0.6 cms. square. | | There is a hole in the top of the back approximately 0.6 cms. square. |
| The opening under the cutting of the bust has been filled with copper | | The opening under the cutting of the bust has been filled with copper |
| or a very coppery alloy. | | or a very coppery alloy. |
| The bronze is kept in the Hebcrden Coin Room as part of the | | The bronze is kept in the Hebcrden Coin Room as part of the |
| collection of medals purchased in 1953 from Colonel Michael H. | | collection of medals purchased in 1953 from Colonel Michael H. |
| Grant. | | Grant. |
| The high rclicf appears to have been created by sawing off the | | The high rclicf appears to have been created by sawing off the |
| back of a thrcc-dimensional head, as also is the case with | | back of a thrcc-dimensional head, as also is the case with |
| Nos. 475 and 618. | | Nos. 475 and 618. |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 618. Portrait head in relief of | | 618. Portrait head in relief of |
| William Ewart Gladstone | | William Ewart Gladstone |
| 12.2 cms. (height of head); 20 cms. (diameter of board) | | 12.2 cms. (height of head); 20 cms. (diameter of board) |
| Bronze with a black patina, worn to a pale brown in the nose. Heavy | | Bronze with a black patina, worn to a pale brown in the nose. Heavy |
| sand-cast, open behind. Mounted on a circular board of pine. A | | sand-cast, open behind. Mounted on a circular board of pine. A |
| bolt has perforated the wall of the bronze behind the whiskers to | | bolt has perforated the wall of the bronze behind the whiskers to |
| proper right. The underside of the neck has been filled and coated | | proper right. The underside of the neck has been filled and coated |
| with a black substance. | | with a black substance. |
| The bronze is kept in the Heberden Coin Room as part of the | | The bronze is kept in the Heberden Coin Room as part of the |
| collection of medals purchased in 1953 from Colonel Michael H. | | collection of medals purchased in 1953 from Colonel Michael H. |
| Grant. | | Grant. |
| The head is mounted in the same manner as the bust of | | The head is mounted in the same manner as the bust of |
| Ruskin by Drcsslcr (No. 475). As in that case and No. 617 | | Ruskin by Drcsslcr (No. 475). As in that case and No. 617 |
| the high relief appears to have been created by sawing off the | | the high relief appears to have been created by sawing off the |
| back of a three-dimensional head. | | back of a three-dimensional head. |
| n | | n | @@PROCESS |
| 619. Bust portrait of Captain T. | | 619. Bust portrait of Captain T. |
| Heard | | Heard |
| 22.8 cms. (height); 18.9 cms. (width at shoulders); 30.4 cms. | | 22.8 cms. (height); 18.9 cms. (width at shoulders); 30.4 cms. |
| (length of base); 14.8 cms. (width) | | (length of base); 14.8 cms. (width) |
| Opaque white alabaster, mounted on a base of wood painted black | | Opaque white alabaster, mounted on a base of wood painted black |
| with gold lines. `Capt. Thos. Heard / R.N. H.M.S. /ACTlvE' and | | with gold lines. `Capt. Thos. Heard / R.N. H.M.S. /ACTlvE' and |
| `Byron's / 1834 / "Maid of Athens" ' is scratched in amateur letters, | | `Byron's / 1834 / "Maid of Athens" ' is scratched in amateur letters, |
| blackened for emphasis, on the underside of the block resting on the | | blackened for emphasis, on the underside of the block resting on the |
| base. `oLD BASE FOR/ BUST oF CAPT. T. HEARD / Byron's / "Maid of | | base. `oLD BASE FOR/ BUST oF CAPT. T. HEARD / Byron's / "Maid of |
| Athens" ' is scratched on the underside of the base with a space | | Athens" ' is scratched on the underside of the base with a space |
| between the first and second pair of lines. Also some lines in pencil, | | between the first and second pair of lines. Also some lines in pencil, |
| for which see below. | | for which see below. |
| Provenance unrecorded ( but see below). | | Provenance unrecorded ( but see below). |
| The Byron of the inscription may not be the poet, despite the | | The Byron of the inscription may not be the poet, despite the |
| poet's connection with Athens. Captain Heard was evidently | | poet's connection with Athens. Captain Heard was evidently |
| serving on HMS Acf¢.pc. It may be that the portrait was made | | serving on HMS Acf¢.pc. It may be that the portrait was made |
| on the `Maid of Athens'. It is not a distinguished work of | | on the `Maid of Athens'. It is not a distinguished work of |
| art. There are two pencil inscriptions on the undcrsidc of the | | art. There are two pencil inscriptions on the undcrsidc of the |
| base. One certainly reads `Georgc Richmond', the other in | | base. One certainly reads `Georgc Richmond', the other in |
| larger letters seems to read `G . . . yu . . / Br .... &C / 11 | | larger letters seems to read `G . . . yu . . / Br .... &C / 11 |
| cms high / of Black' . | | cms high / of Black' . |
| n | | n | @@PROCESS |
| 211 | | 211 |
| BRITISH SCULPTURES, UNNAMED ARTISTS | | BRITISH SCULPTURES, UNNAMED ARTISTS |
| n | | n | @@PROCESS |
| 620. Bust portrait of an unknown | | 620. Bust portrait of an unknown |
| man in classical attire | | man in classical attire |
| 62.8 cms. (height including socle); 11.8 cms. (height of socle); | | 62.8 cms. (height including socle); 11.8 cms. (height of socle); |
| 18.2 cms. (diameter of socle) | | 18.2 cms. (diameter of socle) |
| Plaster of Paris varnished a rich golden brown. Thick-walled, hollow | | Plaster of Paris varnished a rich golden brown. Thick-walled, hollow |
| cast. There are vestiges of scans on the top of the head. There are | | cast. There are vestiges of scans on the top of the head. There are |
| minor chips to the drapery and the end of the nose. Initials or a | | minor chips to the drapery and the end of the nose. Initials or a |
| short name probably followed by `Fecit' were scratched on the top | | short name probably followed by `Fecit' were scratched on the top |
| of the socle at the back but cannot now bc traced. | | of the socle at the back but cannot now bc traced. |
| Provenance unknown. | | Provenance unknown. |
| The bust looks like a work of the 1830s or 1840s. | | The bust looks like a work of the 1830s or 1840s. |
| APPENDIX I | | APPENDIX I |
| Plaster Casts From the Studio of | | Plaster Casts From the Studio of |
| Sir Francis Chantrey | | Sir Francis Chantrey |
| The Chantrey Casts: Technique and Conservation | | The Chantrey Casts: Technique and Conservation |
| Chantrey modelled his sculpture in clay. Once completed each | | Chantrey modelled his sculpture in clay. Once completed each |
| work was encased with a piece-mould from which a plaster cast | | work was encased with a piece-mould from which a plaster cast |
| could be taken. The true origival-the clay-was then broken | | could be taken. The true origival-the clay-was then broken |
| up. The only works in clay by Chantrey which seem to have | | up. The only works in clay by Chantrey which seem to have |
| survived are small sketch models of which one, for his portrait | | survived are small sketch models of which one, for his portrait |
| statue of Mrs Jordan, is in the Ashmolean Museum (No. 456). | | statue of Mrs Jordan, is in the Ashmolean Museum (No. 456). |
| The plaster casts usually served as the models from which the | | The plaster casts usually served as the models from which the |
| marbles were carved, although it is conceivable that the clay | | marbles were carved, although it is conceivable that the clay |
| origivals were sometimes preserved long enough to serve this | | origivals were sometimes preserved long enough to serve this |
| purpose. Most of the carving was done by assistants, but Chan-trey | | purpose. Most of the carving was done by assistants, but Chan-trey |
| not only finished his busts hinself but sometimes did so | | not only finished his busts hinself but sometimes did so |
| from the life, requesting a last sitting for this purpose (not the | | from the life, requesting a last sitting for this purpose (not the |
| nomal practice with his rivals). The differences betwccn plaster | | nomal practice with his rivals). The differences betwccn plaster |
| and marble sculptures-apart of course from polish and | | and marble sculptures-apart of course from polish and |
| colountirc not remarkable. Not infrequently the plaster ver-sions | | colountirc not remarkable. Not infrequently the plaster ver-sions |
| reproduced vigorous clawed tooling, in drapery and to a | | reproduced vigorous clawed tooling, in drapery and to a |
| lesser extent flesh. Such textures arc reduced to the finer marks | | lesser extent flesh. Such textures arc reduced to the finer marks |
| of the rasp in the marble. In some cases there is a completely | | of the rasp in the marble. In some cases there is a completely |
| different treatment of the iris or pupil . The most obvious differe-nce, | | different treatment of the iris or pupil . The most obvious differe-nce, |
| however is in the treatment of the hair, where the handling | | however is in the treatment of the hair, where the handling |
| of the clay was most free and least easily imitated in marble. The | | of the clay was most free and least easily imitated in marble. The |
| plaster of wordsworth (No. 784), for instance, reproduces the | | plaster of wordsworth (No. 784), for instance, reproduces the |
| worms of clay which were dropped on to the forehead, and in | | worms of clay which were dropped on to the forehead, and in |
| other cases, such as the portrait of Lady I.ouisa Russell (No. | | other cases, such as the portrait of Lady I.ouisa Russell (No. |
| n | | n | @@PROCESS |
| 657), the poking and pushing of the wet clay is very visible. An | | 657), the poking and pushing of the wet clay is very visible. An |
| equivalent but very different freedom of handling was sometimes | | equivalent but very different freedom of handling was sometimes |
| achieved in the marble hair by use of the drill. | | achieved in the marble hair by use of the drill. |
| Chantrey's handling of the top ofthc clay head was sometimes | | Chantrey's handling of the top ofthc clay head was sometimes |
| wild, even careless, it being a part of a portrait very unlikely to | | wild, even careless, it being a part of a portrait very unlikely to |
| bc inspected closely: the cast of the bust of William Howley, | | bc inspected closely: the cast of the bust of William Howley, |
| archbishop of Canterbury, is a good example of the freedom he | | archbishop of Canterbury, is a good example of the freedom he |
| could permit himself (No. 721 ). In this case the points are also | | could permit himself (No. 721 ). In this case the points are also |
| clearly visible. Cleaning has revealed these on almost all the | | clearly visible. Cleaning has revealed these on almost all the |
| plasters. They are always most apparent on the hair and are of | | plasters. They are always most apparent on the hair and are of |
| two types- single point and a circled one-made with a pencil | | two types- single point and a circled one-made with a pencil |
| sharp enough to penetrate the surface of the plaster. | | sharp enough to penetrate the surface of the plaster. |
| Piece-moulds lcavc seams in the plaster casts but these were | | Piece-moulds lcavc seams in the plaster casts but these were |
| carefully cleaned off and their traces arc not easy to find except | | carefully cleaned off and their traces arc not easy to find except |
| on the crown of the head. The reason for this is that when the | | on the crown of the head. The reason for this is that when the |
| piece-mould has bccn assembled for the plaster of Paris to be | | piece-mould has bccn assembled for the plaster of Paris to be |
| poured into it one small piece of the mould-a sort of plug-is | | poured into it one small piece of the mould-a sort of plug-is |
| left out so that the /o»7¢¢fo„G can reach inside the mould and | | left out so that the /o»7¢¢fo„G can reach inside the mould and |
| ensure that the plaster has flowed right down. When he has | | ensure that the plaster has flowed right down. When he has |
| done this he will rcplacc the plug, but thcrc arc bound to bc | | done this he will rcplacc the plug, but thcrc arc bound to bc |
| larger seams and more untidiness at this point which it would | | larger seams and more untidiness at this point which it would |
| be tedious to conceal. | | be tedious to conceal. |
| The socles of the busts, when there was one, were all cast | | The socles of the busts, when there was one, were all cast |
| separately. They are of standard size and type and probably | | separately. They are of standard size and type and probably |
| existed ready made in the sculptor's workshop in large batches. | | existed ready made in the sculptor's workshop in large batches. |
| The join was made when the plaster had just been poured into | | The join was made when the plaster had just been poured into |
| the mould and it was reinforced with a large peg of deal-in | | the mould and it was reinforced with a large peg of deal-in |
| one or two cases only does iron seem to have bccn employed | | one or two cases only does iron seem to have bccn employed |
| for this purpose. | | for this purpose. |
| It seems always to be the case that the head of each male | | It seems always to be the case that the head of each male |
| portrait statue was scparatcly cast and then fitted, by the same | | portrait statue was scparatcly cast and then fitted, by the same |
| method, to the body. When the statues were sawn up an attempt | | method, to the body. When the statues were sawn up an attempt |
| was made to convert them into busts, but often the heads must | | was made to convert them into busts, but often the heads must |
| have fallen off and in many cases they were loosened. In the | | have fallen off and in many cases they were loosened. In the |
| case of the statue of George Ill, for instance (No. 638), a | | case of the statue of George Ill, for instance (No. 638), a |
| smooth rim easily distinguishable from a sawn edge is visible. | | smooth rim easily distinguishable from a sawn edge is visible. |
| The female effides do not generally have separately cast heads | | The female effides do not generally have separately cast heads |
| but then they were often not really protraits at all. It was | | but then they were often not really protraits at all. It was |
| above all when the statue was a portrait that Chantrey found it | | above all when the statue was a portrait that Chantrey found it |
| convenient to work on the head separately and when he did so | | convenient to work on the head separately and when he did so |
| it was also cast separately. This must have been a common | | it was also cast separately. This must have been a common |
| practice, but Chantrey's sculpture ccltainly suffers from it: in | | practice, but Chantrey's sculpture ccltainly suffers from it: in |
| very few of his statues docs the body possess a very distinctive, | | very few of his statues docs the body possess a very distinctive, |
| individual, character-and in none is the body active. | | individual, character-and in none is the body active. |
| Most of the detached heads seem to be solid-as was the | | Most of the detached heads seem to be solid-as was the |
| case for instance with the sleeping child (No. 655)-nd it is | | case for instance with the sleeping child (No. 655)-nd it is |
| remarkable that this is also the case with a great many of the | | remarkable that this is also the case with a great many of the |
| bodies, as can be clearly seen from the cuts through the chest | | bodies, as can be clearly seen from the cuts through the chest |
| (e.g. No. 670). Sometimes there is a hollow interior, although | | (e.g. No. 670). Sometimes there is a hollow interior, although |
| the walls are immensely thick. Such a hollow is visible, for | | the walls are immensely thick. Such a hollow is visible, for |
| instance, when the surviving pordon of the statue of Mrs Jordan | | instance, when the surviving pordon of the statue of Mrs Jordan |
| is lifted up (No. 649). In this case it is clear that the plaster was | | is lifted up (No. 649). In this case it is clear that the plaster was |
| handled in the hollow. It is likely that, in a case like this, the | | handled in the hollow. It is likely that, in a case like this, the |
| figure was cast in two parts. When the top part of the figure | | figure was cast in two parts. When the top part of the figure |
| was being poured-head downwards-the /o7'7i¢¢forG would | | was being poured-head downwards-the /o7'7i¢¢forG would |
| have reached in and pushed the plaster down into the head and | | have reached in and pushed the plaster down into the head and |
| then kept a sort of tunnel which enabled him to push it sideways. | | then kept a sort of tunnel which enabled him to push it sideways. |
| The immense weight of these casts does not sccm to have | | The immense weight of these casts does not sccm to have |
| been regarded as a disadvantage. It obviously made them more | | been regarded as a disadvantage. It obviously made them more |
| stable, and more easily repaired, and it must have been necessary | | stable, and more easily repaired, and it must have been necessary |
| for the effective securing of scparatcly cast units. The surviving | | for the effective securing of scparatcly cast units. The surviving |
| casts of wcstmacott's works show the same tcchniquc. It may | | casts of wcstmacott's works show the same tcchniquc. It may |
| not have been possible to make tight-sheucd plaster casts at this | | not have been possible to make tight-sheucd plaster casts at this |
| date, at least on a large scale. In my experience plaster casts after | | date, at least on a large scale. In my experience plaster casts after |
| the antique made in 1780 or 1820 are far heavier than those | | the antique made in 1780 or 1820 are far heavier than those |
| made in about l880-sometimes as much as ten times heavier. | | made in about l880-sometimes as much as ten times heavier. |
| From the studio sales of cightecnth-century portrait sculptors | | From the studio sales of cightecnth-century portrait sculptors |
| it is clear that they must have made numerous plaster casts of | | it is clear that they must have made numerous plaster casts of |
| n | | n | @@PROCESS |
| 213 | | 213 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| their busts-this was especially the case with busts of historical | | their busts-this was especially the case with busts of historical |
| celebrities such as Milton, Shakespeare, Inigo Jones, and | | celebrities such as Milton, Shakespeare, Inigo Jones, and |
| Newton. There is no technical reason why Chantrey should not | | Newton. There is no technical reason why Chantrey should not |
| have done this. In some cases a patron may have requcstcd casts | | have done this. In some cases a patron may have requcstcd casts |
| for presentation to friends (this is documcnted in the sculptor's | | for presentation to friends (this is documcnted in the sculptor's |
| ledger in the case of Thomas Johncs of Hafod) but in the case | | ledger in the case of Thomas Johncs of Hafod) but in the case |
| of a famous sitter this practice made it casicr for marble copies | | of a famous sitter this practice made it casicr for marble copies |
| to be made by his rivals and Chantrey, who was much irritated | | to be made by his rivals and Chantrey, who was much irritated |
| by piracy, may have been wary of this. | | by piracy, may have been wary of this. |
| All the same if a sculptor issued an edition of plaster casts | | All the same if a sculptor issued an edition of plaster casts |
| properly inscribed with name and date he enjoyed legal pro-tection | | properly inscribed with name and date he enjoyed legal pro-tection |
| and could make a good profit without ever having to | | and could make a good profit without ever having to |
| carve a marble version-r at least before hc did so. There is | | carve a marble version-r at least before hc did so. There is |
| evidence that Chantrey did precisely this carly in his career: the | | evidence that Chantrey did precisely this carly in his career: the |
| plaster bust of Sir Francis Burdett (no. 685) reproduced an | | plaster bust of Sir Francis Burdett (no. 685) reproduced an |
| inscription neatly incised in the model as follows `modeucd | | inscription neatly incised in the model as follows `modeucd |
| by/F. L. Chantrey/published Scpt. 1 1810.' This reveals that | | by/F. L. Chantrey/published Scpt. 1 1810.' This reveals that |
| the bust was made with publication of a plaster edition in mind. | | the bust was made with publication of a plaster edition in mind. |
| The same is true of the bust of John Home Tookc (No. 773) | | The same is true of the bust of John Home Tookc (No. 773) |
| which is inscribed `modclled by F. L. Chan-trey/ | | which is inscribed `modclled by F. L. Chan-trey/ |
| published/December I/1810.' These busts were both | | published/December I/1810.' These busts were both |
| exhibited at the Royal Academy in 1811, presumably as plasters, | | exhibited at the Royal Academy in 1811, presumably as plasters, |
| and the marble versions were only made much later. Burdett | | and the marble versions were only made much later. Burdett |
| was in prison in 1810 for his pohitical beliefs. Tookc was a close | | was in prison in 1810 for his pohitical beliefs. Tookc was a close |
| ally. Chantrey surely made these works for the supporters of | | ally. Chantrey surely made these works for the supporters of |
| these two radical heroes-to whom indeed he was at that date | | these two radical heroes-to whom indeed he was at that date |
| himself sympathetic. Thercaftcr, however, it seems that Chantrey | | himself sympathetic. Thercaftcr, however, it seems that Chantrey |
| did not issue editions of plaster casts. | | did not issue editions of plaster casts. |
| On 7 May 1845, not long after the casts had been installed | | On 7 May 1845, not long after the casts had been installed |
| in the University Galleries, I.ady Chantrey wrote to the Curators | | in the University Galleries, I.ady Chantrey wrote to the Curators |
| (A4l¢."#fGf, Ashmolean Library, AMS. 41. pp. 8-9) urgivg them | | (A4l¢."#fGf, Ashmolean Library, AMS. 41. pp. 8-9) urgivg them |
| not to permit aftcrcasts of the plasters to be made. Her husband's | | not to permit aftcrcasts of the plasters to be made. Her husband's |
| own moulds had, she claimed, been destroyed. A few exceptions, | | own moulds had, she claimed, been destroyed. A few exceptions, |
| however, were made. I.ater in the same year, and surely with | | however, were made. I.ater in the same year, and surely with |
| her permission, Gcorgc Jones wrote requesting that an aftcrcast | | her permission, Gcorgc Jones wrote requesting that an aftcrcast |
| be made of the bust of Sir Francis Burdett for Miss Burdett- | | be made of the bust of Sir Francis Burdett for Miss Burdett- |
| Coutts (ibid. 11). An aftercast of a bust of `Dr Dutton' (pre-sumably | | Coutts (ibid. 11). An aftercast of a bust of `Dr Dutton' (pre-sumably |
| Dalton) was permitted in 1866 (ibid. 38), and one of | | Dalton) was permitted in 1866 (ibid. 38), and one of |
| the entire statue of Roscoe was made at the request of the mayor | | the entire statue of Roscoe was made at the request of the mayor |
| of hiverpool after the marble, in St Georgc's Hall, was broken | | of hiverpool after the marble, in St Georgc's Hall, was broken |
| in 1893. | | in 1893. |
| As was mentioned in the second introductory essay to this | | As was mentioned in the second introductory essay to this |
| volume Chantrey's plasters were described on their arrival in | | volume Chantrey's plasters were described on their arrival in |
| Oxford as `ganbogc' coloured. They must have been coated | | Oxford as `ganbogc' coloured. They must have been coated |
| with shellac when in his studio. This would have protected the | | with shellac when in his studio. This would have protected the |
| surface, making it harder and also easier to clean, but the sheuac | | surface, making it harder and also easier to clean, but the sheuac |
| would have darkened from a pale gold to a dark yellow and, in | | would have darkened from a pale gold to a dark yellow and, in |
| some cases, to a ruddy brown. The same witness recorded that | | some cases, to a ruddy brown. The same witness recorded that |
| the casts when displayed had changed colour. They must have | | the casts when displayed had changed colour. They must have |
| bccn painted on arrival with the thin coat of a stone colour | | bccn painted on arrival with the thin coat of a stone colour |
| which all of the unrcstored examples retain. This paint contained | | which all of the unrcstored examples retain. This paint contained |
| shellac and was brittle and has in most cases flaked off in parts. | | shellac and was brittle and has in most cases flaked off in parts. |
| It also bacane dirty - very dirty from the bascmcnt stores. The | | It also bacane dirty - very dirty from the bascmcnt stores. The |
| first and simplest, but certainly the least satisfactory, remedy was | | first and simplest, but certainly the least satisfactory, remedy was |
| to coat the dirty sculpture with whitewash. This was done to | | to coat the dirty sculpture with whitewash. This was done to |
| the six items loaned in March 1951 to the Chantrey exhibition | | the six items loaned in March 1951 to the Chantrey exhibition |
| at the Graves Art Gallery in Sheffield-the busts of Nollekens, | | at the Graves Art Gallery in Sheffield-the busts of Nollekens, |
| J. R Smith, Home Tooke, Wilham IV, George IV, and the | | J. R Smith, Home Tooke, Wilham IV, George IV, and the |
| n | | n | @@PROCESS |
| 214 | | 214 |
| colossal Wellington (Nos. 742, 759, 773, 781, 709, 778). Apart | | colossal Wellington (Nos. 742, 759, 773, 781, 709, 778). Apart |
| from the fact that the freshness of the modelling was obscured | | from the fact that the freshness of the modelling was obscured |
| by the inevitable thickness of the coating, the whitewash itself | | by the inevitable thickness of the coating, the whitewash itself |
| rapidly became grubby. | | rapidly became grubby. |
| During the 1970s a campaign of cleaning was commenced | | During the 1970s a campaign of cleaning was commenced |
| by Mohammed Saleh of the Cast Gallery. Mr Salch laboriously | | by Mohammed Saleh of the Cast Gallery. Mr Salch laboriously |
| scraped off not only the stone-coloured paint but the original | | scraped off not only the stone-coloured paint but the original |
| layer of darkened shellac. This last however had penctratcd the | | layer of darkened shellac. This last however had penctratcd the |
| plaster, discolouring it to an uneven degrcc, and damp moulds | | plaster, discolouring it to an uneven degrcc, and damp moulds |
| had also contributed to stain the surface, so when the outer skin | | had also contributed to stain the surface, so when the outer skin |
| of the origival layer of shellac was removed the plaster often | | of the origival layer of shellac was removed the plaster often |
| appeared a disagreeable, blotchy colour. It was also not always | | appeared a disagreeable, blotchy colour. It was also not always |
| obvious where to stop scraping (No. 685). In 1986 the Pilgrim | | obvious where to stop scraping (No. 685). In 1986 the Pilgrim |
| Trust gave a grant towards the cost of a larger campaign of | | Trust gave a grant towards the cost of a larger campaign of |
| cleaning which was carried out by Rachcl Kenward under the | | cleaning which was carried out by Rachcl Kenward under the |
| supervision of David Armitage of the Department of Eastern | | supervision of David Armitage of the Department of Eastern |
| Art. The policy now was to leave the origival shellac skin-r | | Art. The policy now was to leave the origival shellac skin-r |
| to repair it when it had come off--which involved less risk to | | to repair it when it had come off--which involved less risk to |
| the origival surface and, whilst often keeping the plasters darker | | the origival surface and, whilst often keeping the plasters darker |
| than they were originally, avoided the appearance of diseased | | than they were originally, avoided the appearance of diseased |
| skin. It is hoped that some of the more notable succcsscs of this | | skin. It is hoped that some of the more notable succcsscs of this |
| campaign-the busts of Porson and Englefield, Ijord Farnbor-ough | | campaign-the busts of Porson and Englefield, Ijord Farnbor-ough |
| and Sir John Soane, and Queen Victoria among them-will | | and Sir John Soane, and Queen Victoria among them-will |
| be placed on display in the galleries. | | be placed on display in the galleries. |
| Another policy was adopted in the treatment of a set of busts | | Another policy was adopted in the treatment of a set of busts |
| which were sent out on loan to the National Trust at Belton | | which were sent out on loan to the National Trust at Belton |
| House in Iincolnshire. At a suggestion of Alastair I.aing a virtue | | House in Iincolnshire. At a suggestion of Alastair I.aing a virtue |
| was made of the filthy condition of the stone-coloured paint. | | was made of the filthy condition of the stone-coloured paint. |
| This surface was first patched with shellac where it had flakcd | | This surface was first patched with shellac where it had flakcd |
| and then touched-in with easily removable paint. The colour on | | and then touched-in with easily removable paint. The colour on |
| each was toned, with the same paint, to a more or less uniform | | each was toned, with the same paint, to a more or less uniform |
| brown to achieve an effect not unlike a `bronze finish'. This | | brown to achieve an effect not unlike a `bronze finish'. This |
| work was undertaken by Kathleen Kimber of the Department | | work was undertaken by Kathleen Kimber of the Department |
| of Antiquities assisted by Catherine Gormley, a volunteer. | | of Antiquities assisted by Catherine Gormley, a volunteer. |
| Much work remains to be done on the Chantrey plasters and | | Much work remains to be done on the Chantrey plasters and |
| although an have been photographed for this catalogue many | | although an have been photographed for this catalogue many |
| of these photographs document the damage to them and also | | of these photographs document the damage to them and also |
| the markings on them which so eloquently reveal the changivg | | the markings on them which so eloquently reveal the changivg |
| attitude towards them-the neat black writing on the socles | | attitude towards them-the neat black writing on the socles |
| which identified them for the visitor in the 1850s and 1860s; | | which identified them for the visitor in the 1850s and 1860s; |
| the numbered labels stuck on them when they were consigned | | the numbered labels stuck on them when they were consigned |
| to bascmcnt storage-printed paper labels like those put on `left | | to bascmcnt storage-printed paper labels like those put on `left |
| luggage' or goods consigned to auction; the chalkcd numbers | | luggage' or goods consigned to auction; the chalkcd numbers |
| scrawled on them in this centurylrude like the markings on | | scrawled on them in this centurylrude like the markings on |
| trees singled out for felling; and lastly the neat card labels on | | trees singled out for felling; and lastly the neat card labels on |
| ribbon made in the l980s which reveal a concern for the welfare | | ribbon made in the l980s which reveal a concern for the welfare |
| of the sculpture and a respect for its value. | | of the sculpture and a respect for its value. |
| The following works are abbreviated in the catalogue entries: | | The following works are abbreviated in the catalogue entries: |
| The Manuscript ledger of Sir Francis Chantrey in the I.ibrary of the | | The Manuscript ledger of Sir Francis Chantrey in the I.ibrary of the |
| Royal Academy of Arts. | | Royal Academy of Arts. |
| JosephF.ishel,Et;chedRemini§encesOftheModelsdySirFrancisChmutrey | | JosephF.ishel,Et;chedRemini§encesOftheModelsdySirFrancisChmutrey |
| in the University Galleries (Oxf;old, \85\). | | in the University Galleries (Oxf;old, \85\). |
| TL lame Poole, Catalogue Of Portraits in the Possession Of the University, | | TL lame Poole, Catalogue Of Portraits in the Possession Of the University, |
| 3 vols. (Oxford,1912-15). | | 3 vols. (Oxford,1912-15). |
| AL. Ports, Sir Francis Chantrey 1781-1841, Sculptor Of the Great, | | AL. Ports, Sir Francis Chantrey 1781-1841, Sculptor Of the Great, |
| Catalogue of exhibition at the National Portrait Gallery, I.ondon, | | Catalogue of exhibition at the National Portrait Gallery, I.ondon, |
| and the Mappin Art Gallery, Sheffield, 1981. | | and the Mappin Art Gallery, Sheffield, 1981. |
| R. Gumis, Dictionary Of British Sculptors 1660-1851 (hondor\, +95\). | | R. Gumis, Dictionary Of British Sculptors 1660-1851 (hondor\, +95\). |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| PART I | | PART I |
| Full-length statues, monumental effiges, and reliefs | | Full-length statues, monumental effiges, and reliefs |
| ( mostly fragmentary) | | ( mostly fragmentary) |
| n | | n | @@PROCESS |
| 621. Dr James ANDERSON | | 621. Dr James ANDERSON |
| (d. 1809) | | (d. 1809) |
| 23.7 cms. (height) | | 23.7 cms. (height) |
| Head broken at the neck. From a seated whole-length | | Head broken at the neck. From a seated whole-length |
| figure. Cleaned (to the plaster) by | | figure. Cleaned (to the plaster) by |
| Mohammed Salch. Vcstigcs of shellac remain. | | Mohammed Salch. Vcstigcs of shellac remain. |
| Points visible. Parallel scratches on crown of head. | | Points visible. Parallel scratches on crown of head. |
| Small hole in the back of the head. Probably a | | Small hole in the back of the head. Probably a |
| scparatcly cast unit. | | scparatcly cast unit. |
| Chantrey tlft, no. 5; Efc4ed Rc7"G."j.fcG"cGf, no. 41; | | Chantrey tlft, no. 5; Efc4ed Rc7"G."j.fcG"cGf, no. 41; |
| Lane Poole, no. 517. | | Lane Poole, no. 517. |
| Marble erected in Madras, according to | | Marble erected in Madras, according to |
| Gunnis. Commissioned 1815, paid for 1819 | | Gunnis. Commissioned 1815, paid for 1819 |
| (RA Ledger, p. 42), exhibited Royal Academy | | (RA Ledger, p. 42), exhibited Royal Academy |
| 1819 (no.1181) as posthumous and to be | | 1819 (no.1181) as posthumous and to be |
| erected in Madras. Andcrson was Physician- | | erected in Madras. Andcrson was Physician- |
| General of the East India Company at | | General of the East India Company at |
| Madras, also a botanist and agriculturalist. | | Madras, also a botanist and agriculturalist. |
| n | | n | @@PROCESS |
| 622. Stephen BABINGTON | | 622. Stephen BABINGTON |
| (d. 1822) | | (d. 1822) |
| 45.4 cms. (height); 43.4 cms. (width across | | 45.4 cms. (height); 43.4 cms. (width across |
| shoulders) | | shoulders) |
| Head and shoulders, sawn across chest and raised | | Head and shoulders, sawn across chest and raised |
| hand. Chipped on the sawn edge. From a seated | | hand. Chipped on the sawn edge. From a seated |
| whole-length figure. Uncleaned. Flaking on neck | | whole-length figure. Uncleaned. Flaking on neck |
| and side of face. An unusually red shellac. | | and side of face. An unusually red shellac. |
| Chantrey Sft, no. 7S Etched Reminiscences. no. 37., | | Chantrey Sft, no. 7S Etched Reminiscences. no. 37., |
| I.anc Poolc, no. 519. | | I.anc Poolc, no. 519. |
| Marble erected in Bombay, according to | | Marble erected in Bombay, according to |
| Gunnis. Commissioned 1824, paid for 1828 | | Gunnis. Commissioned 1824, paid for 1828 |
| (RA Ledger, p. 168), exhibited Royal | | (RA Ledger, p. 168), exhibited Royal |
| Academy 1827 (no.1123). Babington was a | | Academy 1827 (no.1123). Babington was a |
| judge in the Bombay Civil Service. | | judge in the Bombay Civil Service. |
| n | | n | @@PROCESS |
| 623. Sir Joseph BANKS Bt. | | 623. Sir Joseph BANKS Bt. |
| (1743-1820) | | (1743-1820) |
| 31.6 cms. (height); 43 cms. (width across | | 31.6 cms. (height); 43 cms. (width across |
| shoulders) | | shoulders) |
| Head and shoulders sawn across upper chest. From | | Head and shoulders sawn across upper chest. From |
| a seated whole-length figure. Large chips missing | | a seated whole-length figure. Large chips missing |
| fi.om the sawn edge at proper right shoulder and | | fi.om the sawn edge at proper right shoulder and |
| to proper left of collar. Uncleancd. Slight flaking, | | to proper left of collar. Uncleancd. Slight flaking, |
| especially on the face. | | especially on the face. |
| Chantrey Sft, no. 9: Efc4cd RcowS.„!.JCG"ccf, no. 14; | | Chantrey Sft, no. 9: Efc4cd RcowS.„!.JCG"ccf, no. 14; |
| Lane Poolc, no. 521. | | Lane Poolc, no. 521. |
| Marble in the Natural History Museum | | Marble in the Natural History Museum |
| (transferred from the British Museum). | | (transferred from the British Museum). |
| Commissioned for the British Museum 1821, | | Commissioned for the British Museum 1821, |
| completed 1827, paid for 1833 (RA Ledger, | | completed 1827, paid for 1833 (RA Ledger, |
| P. 147). Banks was a traveller and botanist, | | P. 147). Banks was a traveller and botanist, |
| promoter of the natural sciences, President | | promoter of the natural sciences, President |
| of the Royal Society, and Trustcc of the | | of the Royal Society, and Trustcc of the |
| British Museum. | | British Museum. |
| n | | n | @@PROCESS |
| 624. Shute BARRINGTON, bishop | | 624. Shute BARRINGTON, bishop |
| of Durham ( 1734-1826) | | of Durham ( 1734-1826) |
| 44.6 cms. (height); 35.8 cms. (width) | | 44.6 cms. (height); 35.8 cms. (width) |
| Head and shoulders sawn across upper chest just | | Head and shoulders sawn across upper chest just |
| below bands. From a kneeling whole-length figure. | | below bands. From a kneeling whole-length figure. |
| The proper left shoulder has been broken off. Minor | | The proper left shoulder has been broken off. Minor |
| chips arc missing along the sawn edge. Uncleaned. | | chips arc missing along the sawn edge. Uncleaned. |
| Some flaking, especially to the face. | | Some flaking, especially to the face. |
| Chantrey 5ft, no. I I; Efc¢Gd Rccoz."¢.fcc"cGf, no. 4; | | Chantrey 5ft, no. I I; Efc¢Gd Rccoz."¢.fcc"cGf, no. 4; |
| Imc Poole, no. 523. | | Imc Poole, no. 523. |
| Marble, dated 1830, serves as his monument | | Marble, dated 1830, serves as his monument |
| in Durham Cathedral. Barrington was bishop | | in Durham Cathedral. Barrington was bishop |
| of IJandaff, Salisbury, and Durham in | | of IJandaff, Salisbury, and Durham in |
| succession. | | succession. |
| n | | n | @@PROCESS |
| 625. Heny BATHURST, bishop of | | 625. Heny BATHURST, bishop of |
| Norwich ( 1744-1837) | | Norwich ( 1744-1837) |
| 40 cms. (height); 53.2 cms. (width) | | 40 cms. (height); 53.2 cms. (width) |
| Head and shoulders. Sawn across upper chest. From | | Head and shoulders. Sawn across upper chest. From |
| a scatcd whole-length figure. A large chip is missing | | a scatcd whole-length figure. A large chip is missing |
| from the sawn edge at his left shoulder and right | | from the sawn edge at his left shoulder and right |
| collar. The head is loose and was probably a | | collar. The head is loose and was probably a |
| scpa.rately cast unit. Uncleaned. Some fla.king to | | scpa.rately cast unit. Uncleaned. Some fla.king to |
| wig and robes. | | wig and robes. |
| Char\:tray bR, no. L3; Etched Reminiscences, no. | | Char\:tray bR, no. L3; Etched Reminiscences, no. |
| 22; I.one Poolc, no. 525. | | 22; I.one Poolc, no. 525. |
| Marble serves as his monument in Norwich | | Marble serves as his monument in Norwich |
| Cathedral ( N. Penny, C4#rc4 44o„#owc"£f ¢.„ | | Cathedral ( N. Penny, C4#rc4 44o„#owc"£f ¢.„ |
| Roov¢»£z.c E"g/¢#¢ (New Haven, Conn., and | | Roov¢»£z.c E"g/¢#¢ (New Haven, Conn., and |
| I.ondon, 1977), 75, pl. 54). Exhibited at the | | I.ondon, 1977), 75, pl. 54). Exhibited at the |
| Royal Academy 1841 (no. 1218) | | Royal Academy 1841 (no. 1218) |
| posthumously as the sculptor's last work. | | posthumously as the sculptor's last work. |
| Bathurst was bishop of Norwich 1805-37 | | Bathurst was bishop of Norwich 1805-37 |
| and a VAg. | | and a VAg. |
| n | | n | @@PROCESS |
| 626. Mary Anne, Mrs Matthew | | 626. Mary Anne, Mrs Matthew |
| Robinson BOULTON | | Robinson BOULTON |
| (1795-1829) | | (1795-1829) |
| 30.I cms. (height) | | 30.I cms. (height) |
| Head and neck. Sawn across lower neck. From a | | Head and neck. Sawn across lower neck. From a |
| reclining wh.olc-length figure. Part of the half has | | reclining wh.olc-length figure. Part of the half has |
| bccn broken fi.om the proper left side and the back | | bccn broken fi.om the proper left side and the back |
| of the head. Uncleancd. Extcnsivc flaking in hair | | of the head. Uncleancd. Extcnsivc flaking in hair |
| and neck. | | and neck. |
| Chantrcy dft, no. 16; Efcifed RGowG.~G.fcc„ccf, no. | | Chantrcy dft, no. 16; Efcifed RGowG.~G.fcc„ccf, no. |
| 16; Ime Poolc, no. 528. | | 16; Ime Poolc, no. 528. |
| Marble, dated 1834, serves as her monument | | Marble, dated 1834, serves as her monument |
| n | | n | @@PROCESS |
| 215 | | 215 |
| AI'PENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | AI'PENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| in the parish church at Great Tew, | | in the parish church at Great Tew, |
| Oxfordshire (N. Penny, C4#"A 44lo„#owc„fJ | | Oxfordshire (N. Penny, C4#"A 44lo„#owc„fJ |
| in Romantic England (ENc:w Haven. Cor\n.. | | in Romantic England (ENc:w Haven. Cor\n.. |
| and Ijondon, 1977), 87, pl. 64). | | and Ijondon, 1977), 87, pl. 64). |
| Commissioncd 1830, completed 1834, paid | | Commissioncd 1830, completed 1834, paid |
| for 1836 (RA Ledger, p. 228). Mrs Boulton | | for 1836 (RA Ledger, p. 228). Mrs Boulton |
| was the daughter-in-law of Matthew Boulton | | was the daughter-in-law of Matthew Boulton |
| the entrepreneur. | | the entrepreneur. |
| n | | n | @@PROCESS |
| 627. Mary Ann, Lady BRADFORD | | 627. Mary Ann, Lady BRADFORD |
| (d. 1830) | | (d. 1830) |
| 46.2 cms. (height) | | 46.2 cms. (height) |
| Head and part of the chest, hands, and pillow. Sawn | | Head and part of the chest, hands, and pillow. Sawn |
| horizontally from a rcclinng whole-length figure. | | horizontally from a rcclinng whole-length figure. |
| Much chipping at sawn edge. End of thumb of her | | Much chipping at sawn edge. End of thumb of her |
| right hand broken off and missing. Uncleaned. | | right hand broken off and missing. Uncleaned. |
| Extensive flaking. | | Extensive flaking. |
| Chantrey Bft, no. 17; Efc4G¢ RcacG.#®.fce"ccf, no. | | Chantrey Bft, no. 17; Efc4G¢ RcacG.#®.fce"ccf, no. |
| 40; I,are Poole, no. 529. | | 40; I,are Poole, no. 529. |
| Marble, dated 1834, serves as a monument | | Marble, dated 1834, serves as a monument |
| in Har[bum Church, Northumberland. | | in Har[bum Church, Northumberland. |
| Commissioned 1831, completed 1834 (RA | | Commissioned 1831, completed 1834 (RA |
| Ledger, p. 239). I.ady Bradford, wife of | | Ledger, p. 239). I.ady Bradford, wife of |
| hieut-General Sir Thomas Bradford KCB, | | hieut-General Sir Thomas Bradford KCB, |
| died at sea. | | died at sea. |
| n | | n | @@PROCESS |
| 628. George CANNING | | 628. George CANNING |
| (1770-1827) | | (1770-1827) |
| 41.4 cms. (height); 51 cms. (width at shoulders) | | 41.4 cms. (height); 51 cms. (width at shoulders) |
| Head and shoulders. Sawn just below shoulders. | | Head and shoulders. Sawn just below shoulders. |
| From a whole,Length standing figure. I.argc chips | | From a whole,Length standing figure. I.argc chips |
| missing from draperies along the sawn edge. | | missing from draperies along the sawn edge. |
| Uncleaned. Extensive flaking. | | Uncleaned. Extensive flaking. |
| Chantrcy dft, no. 22; Efchcd RGow;„;Jce»cef, no. | | Chantrcy dft, no. 22; Efchcd RGow;„;Jce»cef, no. |
| 15; I.one Poolc, no. 534. | | 15; I.one Poolc, no. 534. |
| Marble in St Georgc's Ham, I.iverpool. | | Marble in St Georgc's Ham, I.iverpool. |
| Commissioned 1829, completed 1832 (RA | | Commissioned 1829, completed 1832 (RA |
| Ledger, p. 214), exhibited Royal Academy | | Ledger, p. 214), exhibited Royal Academy |
| 1832 (no.1171, specified as of marble). | | 1832 (no.1171, specified as of marble). |
| Canning was a leading Tory statesman and | | Canning was a leading Tory statesman and |
| orator. See also No. 629. | | orator. See also No. 629. |
| n | | n | @@PROCESS |
| 629. George CANNING | | 629. George CANNING |
| (1770-1827) | | (1770-1827) |
| 31.2 cms. (height) | | 31.2 cms. (height) |
| Head broken off at the neck about two inches | | Head broken off at the neck about two inches |
| below the chin. From a whole-length standing | | below the chin. From a whole-length standing |
| figure. Unclcaned. Extensive flaking. The head was | | figure. Unclcaned. Extensive flaking. The head was |
| clearly a separately cast unit. | | clearly a separately cast unit. |
| Chantrey Sft, no. 23; lane Poole, no. 535. | | Chantrey Sft, no. 23; lane Poole, no. 535. |
| Marble in Wesrminstcr Abbey. | | Marble in Wesrminstcr Abbey. |
| Commissioned 1829, completed 1834 (RA | | Commissioned 1829, completed 1834 (RA |
| I.edger, p. 213) Canning was a leading Tory | | I.edger, p. 213) Canning was a leading Tory |
| statesman and orator. See also No. 628. Lane | | statesman and orator. See also No. 628. Lane |
| Poole erroncously connects this with the | | Poole erroncously connects this with the |
| bronze statue in New Palace Yard, | | bronze statue in New Palace Yard, |
| Westminster, which is the work of sir Richard | | Westminster, which is the work of sir Richard |
| Westmacott. | | Westmacott. |
| n | | n | @@PROCESS |
| 216 | | 216 |
| n | | n | @@PROCESS |
| 630. Thomas COUTTS | | 630. Thomas COUTTS |
| (1735-1822) | | (1735-1822) |
| 37.3 cms, (height); 44.6 cms. (width) | | 37.3 cms, (height); 44.6 cms. (width) |
| Head and shoulders. Sa`m just below shoulders. | | Head and shoulders. Sa`m just below shoulders. |
| From a whole-length seated figure. Chips missing | | From a whole-length seated figure. Chips missing |
| along the sawn cdgc, a large one fi.om his right | | along the sawn cdgc, a large one fi.om his right |
| collar. A small loss to the point of the nose. | | collar. A small loss to the point of the nose. |
| Uncleaned. | | Uncleaned. |
| Chantrey Sft, no. 30; Efc4cd Rcacg.#G.fce"ccf, no. | | Chantrey Sft, no. 30; Efc4cd Rcacg.#G.fce"ccf, no. |
| 53; Lenc Poolc, no. 542. | | 53; Lenc Poolc, no. 542. |
| Marble in Coutts' Bank, The Strand, I.ondon. | | Marble in Coutts' Bank, The Strand, I.ondon. |
| Commissioned 1824, completed 1827, paid | | Commissioned 1824, completed 1827, paid |
| for 1828 (RA Ledger, p. 167). Coutts was | | for 1828 (RA Ledger, p. 167). Coutts was |
| the co-founder, with his brother, of the bank | | the co-founder, with his brother, of the bank |
| Coutts and Co. | | Coutts and Co. |
| n | | n | @@PROCESS |
| 631. John DALTON DCL | | 631. John DALTON DCL |
| (1766-1844) | | (1766-1844) |
| 46.5 cms. (height); 48.6 cms. (width) | | 46.5 cms. (height); 48.6 cms. (width) |
| Head, shoulders, and proper right hand. Sawn | | Head, shoulders, and proper right hand. Sawn |
| through the upper chest and wrist. From a whole-length | | through the upper chest and wrist. From a whole-length |
| seated figure. Chips missing from sawn edge, | | seated figure. Chips missing from sawn edge, |
| also recent damage to proper right shoulder | | also recent damage to proper right shoulder |
| (frogments from which survive). Uncleancd. Flaking | | (frogments from which survive). Uncleancd. Flaking |
| on chin and around eyes. | | on chin and around eyes. |
| Chantrey dft, no. 35; E}c¢cd Rcow¢.cog.fcc„ccf, no. | | Chantrey dft, no. 35; E}c¢cd Rcow¢.cog.fcc„ccf, no. |
| 38; Irmc Pcolc, no. 547. | | 38; Irmc Pcolc, no. 547. |
| Marble in the Town Hall, Manchester | | Marble in the Town Hall, Manchester |
| (formerly in the Royal Manchester | | (formerly in the Royal Manchester |
| Institution). Commissioned 1834, paid for | | Institution). Commissioned 1834, paid for |
| 1840 (RA Ledger, p. 259), exhibited Royal | | 1840 (RA Ledger, p. 259), exhibited Royal |
| Academy 1837 (no.1162, specified as of | | Academy 1837 (no.1162, specified as of |
| marble). Dalton was a chemist and natural | | marble). Dalton was a chemist and natural |
| scientist, professor at New College, | | scientist, professor at New College, |
| Manchester, and President of the Manchester | | Manchester, and President of the Manchester |
| Philosophical Society. | | Philosophical Society. |
| n | | n | @@PROCESS |
| 632. Charlotte Elizabeth DIGBY | | 632. Charlotte Elizabeth DIGBY |
| (1778-1820) | | (1778-1820) |
| 43.8 cms. (height); 38.7 cms. (width) | | 43.8 cms. (height); 38.7 cms. (width) |
| Head and shoulders. Sawn through the breasts and | | Head and shoulders. Sawn through the breasts and |
| upper arms. From a whole-length reclining figure. | | upper arms. From a whole-length reclining figure. |
| Chips missing from sawn edge. Unclcancd. | | Chips missing from sawn edge. Unclcancd. |
| Extensive flaking especially in the face. | | Extensive flaking especially in the face. |
| Chantrey Sft, no. 36; E}c¢ed RcowG.#£.JCG"CCJ, no. | | Chantrey Sft, no. 36; E}c¢ed RcowG.#£.JCG"CCJ, no. |
| 16; Lane Poole, no. 548. | | 16; Lane Poole, no. 548. |
| Marble, dated 1825, serves as monument in | | Marble, dated 1825, serves as monument in |
| Worcester Cathedral (N.B. Penny, C¢#rc¢ | | Worcester Cathedral (N.B. Penny, C¢#rc¢ |
| Monttments in Romantic England (ENc:iw | | Monttments in Romantic England (ENc:iw |
| Haven, Conn., and London, 1977), 86, pl. | | Haven, Conn., and London, 1977), 86, pl. |
| 63). Commissioned 1823, completed 1825 | | 63). Commissioned 1823, completed 1825 |
| (RA Ledger, p. 157), exhibited Royal | | (RA Ledger, p. 157), exhibited Royal |
| Academy 1826 as `Resignation'. Mrs Digby | | Academy 1826 as `Resignation'. Mrs Digby |
| was Maid of Honour to Queen Charlotte. | | was Maid of Honour to Queen Charlotte. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 633. William Henry Dawnay, | | 633. William Henry Dawnay, |
| Viscount DOWNE ( 1812-54) | | Viscount DOWNE ( 1812-54) |
| 45.6 cms. (height); 52.2 cms. (width) | | 45.6 cms. (height); 52.2 cms. (width) |
| Head and shoulders. Sawn through chest just below | | Head and shoulders. Sawn through chest just below |
| ermine collar. From a whole-length standing figure. | | ermine collar. From a whole-length standing figure. |
| Chips missing from sawn edge, a large one at proper | | Chips missing from sawn edge, a large one at proper |
| left side. Uncleaned. Slight flaking to face. | | left side. Uncleaned. Slight flaking to face. |
| Chantrey bft. i\o. 37., Etched Remini§cence§. no. | | Chantrey bft. i\o. 37., Etched Remini§cence§. no. |
| 32; Lane Poole, no. 549. | | 32; Lane Poole, no. 549. |
| Marble in Snaith Church, Yorkshire. | | Marble in Snaith Church, Yorkshire. |
| Commissioncd in 1833, completed 1838 | | Commissioncd in 1833, completed 1838 |
| (RA I.edger, p. 256). In Chantrey's ledger | | (RA I.edger, p. 256). In Chantrey's ledger |
| the reference is to the earl of Downc, but | | the reference is to the earl of Downc, but |
| this seems to have been an error. | | this seems to have been an error. |
| n | | n | @@PROCESS |
| 634. Robert DUNDAS of Arniston | | 634. Robert DUNDAS of Arniston |
| (1758-1819) | | (1758-1819) |
| 41.5 cms. (height); 47.5 cms. (width) | | 41.5 cms. (height); 47.5 cms. (width) |
| Head and shoulders. Sawn through upper chest just | | Head and shoulders. Sawn through upper chest just |
| below shoulders. From a whole-length seated | | below shoulders. From a whole-length seated |
| figure. The head, which is obviously a separately | | figure. The head, which is obviously a separately |
| cast unit, is loose. A chip missing from sawn edge | | cast unit, is loose. A chip missing from sawn edge |
| to proper left. Unclcancd. Extcnsivc flaking to | | to proper left. Unclcancd. Extcnsivc flaking to |
| forehead. | | forehead. |
| Cha:utrey trft. no. 40: Etched Rcminiscences` no. | | Cha:utrey trft. no. 40: Etched Rcminiscences` no. |
| 51; Lane Poole, no. 552. | | 51; Lane Poole, no. 552. |
| Marble statue erected in the Sessions House, | | Marble statue erected in the Sessions House, |
| Edinburgh. Commissioned 1820, completed | | Edinburgh. Commissioned 1820, completed |
| 1821, paid for 1822 (RA Ledger, p.117). | | 1821, paid for 1822 (RA Ledger, p.117). |
| Dundas was appointed Chief Baron of the | | Dundas was appointed Chief Baron of the |
| Exchequer of scotland. See also No. 700. | | Exchequer of scotland. See also No. 700. |
| n | | n | @@PROCESS |
| 635. Sir Edward Hyde EAST Bt. | | 635. Sir Edward Hyde EAST Bt. |
| (1764-1847) | | (1764-1847) |
| 43.7 cms. (height); 53.I cms. (width) | | 43.7 cms. (height); 53.I cms. (width) |
| Head, shoulders, and proper right forearm. Sawn | | Head, shoulders, and proper right forearm. Sawn |
| through chest. From a whole-length seated figure. | | through chest. From a whole-length seated figure. |
| Minor chips missing from sawn edge. Unclcaned. | | Minor chips missing from sawn edge. Unclcaned. |
| FLaking. | | FLaking. |
| Chai\t[ey ¢R` no. 43: Etched Reminiscence§` r\o. | | Chai\t[ey ¢R` no. 43: Etched Reminiscence§` r\o. |
| 12; I.anc Poole, no. 555. | | 12; I.anc Poole, no. 555. |
| Marble erected in the Court House, Calcutta. | | Marble erected in the Court House, Calcutta. |
| Completed 1829, paid for 1832 (RA Ledger, | | Completed 1829, paid for 1832 (RA Ledger, |
| p. 195), exhibited Royal Academy 1829 (no. | | p. 195), exhibited Royal Academy 1829 (no. |
| I 198). East was Chief Justice of calcutta | | I 198). East was Chief Justice of calcutta |
| 1813-22. | | 1813-22. |
| n | | n | @@PROCESS |
| 636. Mountstuart ELPHINSTONE | | 636. Mountstuart ELPHINSTONE |
| (1779-1859) | | (1779-1859) |
| 46.8 cms. (height); 46.6 cms. (width) | | 46.8 cms. (height); 46.6 cms. (width) |
| Head and shoulders. Sawn through the upper chest. | | Head and shoulders. Sawn through the upper chest. |
| From a whole-length standing figure. Minor chips | | From a whole-length standing figure. Minor chips |
| missing from sawn edge. Uncleaned. Extensive | | missing from sawn edge. Uncleaned. Extensive |
| flaking to face. | | flaking to face. |
| Cha\ntrey bit, r\o. 47.. Etched Reminiscences. no. 7.` | | Cha\ntrey bit, r\o. 47.. Etched Reminiscences. no. 7.` |
| hone Poole, no. 559. | | hone Poole, no. 559. |
| Marble erected in Bombay. First payment | | Marble erected in Bombay. First payment |
| 1829; completed 1834 (RA Ledger, p. 216); | | 1829; completed 1834 (RA Ledger, p. 216); |
| exhibited Royal Academy 1833 (no.1177). | | exhibited Royal Academy 1833 (no.1177). |
| Elphinstone was Governor of Bombay 1819- | | Elphinstone was Governor of Bombay 1819- |
| 27. | | 27. |
| n | | n | @@PROCESS |
| 637. Sir Charles FORBES Bt. | | 637. Sir Charles FORBES Bt. |
| (1774-1849) | | (1774-1849) |
| 34.8 cms. (height) | | 34.8 cms. (height) |
| Head broken off just below chin. From a full-length | | Head broken off just below chin. From a full-length |
| standing figure. A chip missing from the edge to | | standing figure. A chip missing from the edge to |
| proper left. Uncleaned. Flaking, chiefly on the nose. | | proper left. Uncleaned. Flaking, chiefly on the nose. |
| A scparatcly cast unit. | | A scparatcly cast unit. |
| Chantrey Sft, no. 50; Efc4c¢ Rcow®.»dec„ccf, no. | | Chantrey Sft, no. 50; Efc4c¢ Rcow®.»dec„ccf, no. |
| 23; Lane Poole, no. 562. | | 23; Lane Poole, no. 562. |
| Marble erected in the Town Hall, Bombay. | | Marble erected in the Town Hall, Bombay. |
| Commissioned by the native merchants of | | Commissioned by the native merchants of |
| Bombay 1839, paid for 1841 (RA I.cdgcr, p. | | Bombay 1839, paid for 1841 (RA I.cdgcr, p. |
| n | | n | @@PROCESS |
| 295), exhibited Royal Academy 1842 (no. | | 295), exhibited Royal Academy 1842 (no. |
| 1304, specified as marble). Forbes was head | | 1304, specified as marble). Forbes was head |
| of the merchant house of Forbes and | | of the merchant house of Forbes and |
| Company, the biggest trading concern in | | Company, the biggest trading concern in |
| Bombay, and also active as a political figure | | Bombay, and also active as a political figure |
| in Britain, vigorously opposed to the Reform | | in Britain, vigorously opposed to the Reform |
| Bill. | | Bill. |
| n | | n | @@PROCESS |
| 638. RIng GEORGE Ill | | 638. RIng GEORGE Ill |
| (1738-1820) | | (1738-1820) |
| 38.8 cms. (height) | | 38.8 cms. (height) |
| Head and part of shoulders. Sawn across the | | Head and part of shoulders. Sawn across the |
| shoulders. From a whole-length standing figure. | | shoulders. From a whole-length standing figure. |
| The head (a separately cast unit) now loose. Dccp | | The head (a separately cast unit) now loose. Dccp |
| scratches across eyebrows and nose. Some chips | | scratches across eyebrows and nose. Some chips |
| along the sawn edge. Three holes behind the proper | | along the sawn edge. Three holes behind the proper |
| left shoulder. Uncleaned. | | left shoulder. Uncleaned. |
| Chai\tTcy tsft. no. 52., Etched Reminiscences` Ilo. | | Chai\tTcy tsft. no. 52., Etched Reminiscences` Ilo. |
| 21; I.arc Poole, no. 564. | | 21; I.arc Poole, no. 564. |
| Marble statue, dated 1812, erected in the | | Marble statue, dated 1812, erected in the |
| Guildhall, I.ondon (destroyed by enemy | | Guildhall, I.ondon (destroyed by enemy |
| action,1940). Commissioned 1811, | | action,1940). Commissioned 1811, |
| completed 1812, erected 1815 (RA I.cdgcr, | | completed 1812, erected 1815 (RA I.cdgcr, |
| p.15). | | p.15). |
| n | | n | @@PROCESS |
| 639. King GEORGE IV | | 639. King GEORGE IV |
| (1762-1830) | | (1762-1830) |
| 48.2 cms. (height) | | 48.2 cms. (height) |
| Head and part of neck. Broken across neck. From | | Head and part of neck. Broken across neck. From |
| a colossal full-length standing figure. I.argc chips | | a colossal full-length standing figure. I.argc chips |
| missing from curls. Uncleancd. A separately cast | | missing from curls. Uncleancd. A separately cast |
| unit. | | unit. |
| Chal\trey gife` no. 54: Etched Reminiscences` no. | | Chal\trey gife` no. 54: Etched Reminiscences` no. |
| 17; I.anc Poole, no. 566. | | 17; I.anc Poole, no. 566. |
| The bronze statue was erected at Brighton, | | The bronze statue was erected at Brighton, |
| the marble at windsor Castle. The latter was | | the marble at windsor Castle. The latter was |
| commissioned 1828, completed 1832, paid | | commissioned 1828, completed 1832, paid |
| for 1836 (RA Ledger, p. 210). | | for 1836 (RA Ledger, p. 210). |
| n | | n | @@PROCESS |
| 637 | | 637 |
| n | | n | @@PROCESS |
| 217 | | 217 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 640. General Sir Robert Rollo | | 640. General Sir Robert Rollo |
| GILLESPIE KCB ( 1766-1814) | | GILLESPIE KCB ( 1766-1814) |
| 42.7 cms. (height) | | 42.7 cms. (height) |
| Head and neck. Sawn through collar. From a full-length | | Head and neck. Sawn through collar. From a full-length |
| standing figure. Chipped along sawn edge | | standing figure. Chipped along sawn edge |
| with a pordon of the collar broken off. Cleaned by | | with a pordon of the collar broken off. Cleaned by |
| Rachel Kenward. Origival shellac finish rctaincd. | | Rachel Kenward. Origival shellac finish rctaincd. |
| Chantrey Bit, no. 55: Etched Reminiscences, no. | | Chantrey Bit, no. 55: Etched Reminiscences, no. |
| 25; I.anc Poole, no. 567. | | 25; I.anc Poole, no. 567. |
| Marble serves as monument in St PauL's | | Marble serves as monument in St PauL's |
| Cathedral. Commissioned 1816, completed .7r | | Cathedral. Commissioned 1816, completed .7r |
| and erected 1826 (RA Ledger, p. 55). | | and erected 1826 (RA Ledger, p. 55). |
| GiLlespie served as a commanding officer in | | GiLlespie served as a commanding officer in |
| India and Jamaica. | | India and Jamaica. |
| n | | n | @@PROCESS |
| 641. Henry GRATTEN | | 641. Henry GRATTEN |
| (1746-1820) | | (1746-1820) |
| 43.9 cms. (height) | | 43.9 cms. (height) |
| Head and shoulders. Sawn across upper chest. From | | Head and shoulders. Sawn across upper chest. From |
| a full-length standing figure. Chips missing from | | a full-length standing figure. Chips missing from |
| the sawn edge all round. large chip missing below | | the sawn edge all round. large chip missing below |
| proper right collar. A large part of the proper left | | proper right collar. A large part of the proper left |
| shoulder missing. Unclcaned. Extcnsivc flaking | | shoulder missing. Unclcaned. Extcnsivc flaking |
| especially to lower part of face. | | especially to lower part of face. |
| Chanttey givtt. no. 56S Etched Reminiseenees` r\o. | | Chanttey givtt. no. 56S Etched Reminiseenees` r\o. |
| 19; Imc Poole, no. 568. | | 19; Imc Poole, no. 568. |
| Bronze, erected in the City Hall, Dublin. | | Bronze, erected in the City Hall, Dublin. |
| Commissioned 1822, completed 1827, paid | | Commissioned 1822, completed 1827, paid |
| for 1829 (RA Ledger, p. 153), exhibited | | for 1829 (RA Ledger, p. 153), exhibited |
| Royal Academy 1826 (no. 1067, as a `model', | | Royal Academy 1826 (no. 1067, as a `model', |
| presumably of plaster, to bc cast in bronze). | | presumably of plaster, to bc cast in bronze). |
| Grattan was an Irish statesman and orator. | | Grattan was an Irish statesman and orator. |
| n | | n | @@PROCESS |
| 642. Regivald HEBER, bishop of | | 642. Regivald HEBER, bishop of |
| Calcutta ( 1783-1826) | | Calcutta ( 1783-1826) |
| 43.5 cms. (height) | | 43.5 cms. (height) |
| Head and collar. Sawn across shoulders. From a | | Head and collar. Sawn across shoulders. From a |
| full-length kneeling figure. I,arge chips missing | | full-length kneeling figure. I,arge chips missing |
| from the sawn edge all round. Unclcaned. Slightly | | from the sawn edge all round. Unclcaned. Slightly |
| flaking. | | flaking. |
| Chantrey Sft, no. 62; Efc4Gd RcowG.ce;fcc"ccj, no. | | Chantrey Sft, no. 62; Efc4Gd RcowG.ce;fcc"ccj, no. |
| 27; hac Poole, no. 574. | | 27; hac Poole, no. 574. |
| The marble serves as a monument in St Paul's, | | The marble serves as a monument in St Paul's, |
| Calcutta (oridnally crcctcd in St Tohn's, | | Calcutta (oridnally crcctcd in St Tohn's, |
| Calcutta). Commissioned 1827, completed | | Calcutta). Commissioned 1827, completed |
| 1835 (RA Ledger, p. 199). Heber, a poet | | 1835 (RA Ledger, p. 199). Heber, a poet |
| and hymn-writer of note, was bishop of | | and hymn-writer of note, was bishop of |
| Calcutta 1822nd. See Nos. 643 and 714. | | Calcutta 1822nd. See Nos. 643 and 714. |
| n | | n | @@PROCESS |
| 218 | | 218 |
| n | | n | @@PROCESS |
| 638 640 | | 638 640 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 643. Reginald HEBER, bishop of | | 643. Reginald HEBER, bishop of |
| Calcutta ( 1783-1826) | | Calcutta ( 1783-1826) |
| 42.7 cms. (height) | | 42.7 cms. (height) |
| Head and shoulders. Sawn across upper chest and | | Head and shoulders. Sawn across upper chest and |
| also vertically at proper right shoulder. From a full-length | | also vertically at proper right shoulder. From a full-length |
| kneeling high-relief figure, Small losses in | | kneeling high-relief figure, Small losses in |
| the hair. Chips missing along sawn edge. | | the hair. Chips missing along sawn edge. |
| Uncleancd. Flaking, especially on forehead. | | Uncleancd. Flaking, especially on forehead. |
| Chantrey gift, no. 63; Efc4Gd Rcow¢."¢.fcc#ccf, no. 2; | | Chantrey gift, no. 63; Efc4Gd Rcow¢."¢.fcc#ccf, no. 2; |
| I.are Poolc, no. 575. | | I.are Poolc, no. 575. |
| The marble high relief was erected as a | | The marble high relief was erected as a |
| monument in St George's Chapel, Madras. | | monument in St George's Chapel, Madras. |
| Commissioned 1827, completed 1830 (RA | | Commissioned 1827, completed 1830 (RA |
| Ledger, p. 198), exhibited Royal Academy | | Ledger, p. 198), exhibited Royal Academy |
| 1830 (no. 1270). I,ane Poole confused this | | 1830 (no. 1270). I,ane Poole confused this |
| with the third of chantrey's monuments to | | with the third of chantrey's monuments to |
| Heber, the one commissioned in 1828 and | | Heber, the one commissioned in 1828 and |
| erected in St Paul's in 1835 (RA Ledger, p. | | erected in St Paul's in 1835 (RA Ledger, p. |
| n | | n | @@PROCESS |
| 215, reproduced and discussed in N. 8. | | 215, reproduced and discussed in N. 8. |
| Pc;riny , Church Monuments in Romantic | | Pc;riny , Church Monuments in Romantic |
| E„g/¢"d (New Haven, Conn., and I.ondon, | | E„g/¢"d (New Haven, Conn., and I.ondon, |
| 1977), 76-8, and 213, pl. 56) which | | 1977), 76-8, and 213, pl. 56) which |
| incolporatcs a small relief on its plinth of the | | incolporatcs a small relief on its plinth of the |
| bishop blessing converted Hindus but is an | | bishop blessing converted Hindus but is an |
| isolated kneeling figure like the Calcutta | | isolated kneeling figure like the Calcutta |
| monument (No. 642). The head, however, | | monument (No. 642). The head, however, |
| a.nd the disposition of the curls are the sa.me | | a.nd the disposition of the curls are the sa.me |
| in the versions in Madras and St Paul's. | | in the versions in Madras and St Paul's. |
| n | | n | @@PROCESS |
| 644. Francis Seymour-Conway, | | 644. Francis Seymour-Conway, |
| 2nd marquess of HERTFORD | | 2nd marquess of HERTFORD |
| (1743-1822) | | (1743-1822) |
| 37.2 cms. (height); 50.8 cms. (width) | | 37.2 cms. (height); 50.8 cms. (width) |
| Head and shoulders. Sawn across upper chest. From | | Head and shoulders. Sawn across upper chest. From |
| a full-length reclining figure. Chipping along the | | a full-length reclining figure. Chipping along the |
| sawn cdgc, cspccially to proper right. A hole in the | | sawn cdgc, cspccially to proper right. A hole in the |
| collar to proper left. Deep scratch in forehead. | | collar to proper left. Deep scratch in forehead. |
| Uncleaned. Extensive flaking, | | Uncleaned. Extensive flaking, |
| Chal\trey bR, no. 67S Etched Reminiscences, no. | | Chal\trey bR, no. 67S Etched Reminiscences, no. |
| 50. | | 50. |
| The marble serves as a monument in Alccstcr, | | The marble serves as a monument in Alccstcr, |
| Warwickshire. Commissioned November | | Warwickshire. Commissioned November |
| 1822, paid for 1827 (RA Ledger, p.152). | | 1822, paid for 1827 (RA Ledger, p.152). |
| I.ord Hertford was Ambassador | | I.ord Hertford was Ambassador |
| Extraordimry to Berlin and Vienna 17934 | | Extraordimry to Berlin and Vienna 17934 |
| and I,ord Chamberlain 1812-21. | | and I,ord Chamberlain 1812-21. |
| n | | n | @@PROCESS |
| 645. William HEY (1736-1819) | | 645. William HEY (1736-1819) |
| 34.8 cms. (height); 39.8 cms. (width) | | 34.8 cms. (height); 39.8 cms. (width) |
| Head, shoulders, and proper left hand. Sawn across | | Head, shoulders, and proper left hand. Sawn across |
| shoulders and wrist. From a full-length scatcd figure. | | shoulders and wrist. From a full-length scatcd figure. |
| Chips missing along sawn edge, with large losses at | | Chips missing along sawn edge, with large losses at |
| the coat collar. Unclcaned. Eyes pcncilled in. | | the coat collar. Unclcaned. Eyes pcncilled in. |
| Extensive flaking chiefly to face. | | Extensive flaking chiefly to face. |
| Chantrey dft, no. 68; Efc¢cd RcovS."G.fcGrec¢j, no. | | Chantrey dft, no. 68; Efc¢cd RcovS."G.fcGrec¢j, no. |
| 54; I.ane Poole, no. 580. | | 54; I.ane Poole, no. 580. |
| Marble in Leeds Infirmary, dated 1826. | | Marble in Leeds Infirmary, dated 1826. |
| Commissioned 1820, completed 1826 (RA | | Commissioned 1820, completed 1826 (RA |
| Ledger, p. 125). Hey was a notable surgeon. | | Ledger, p. 125). Hey was a notable surgeon. |
| I.one Poole speculated that the statue might | | I.one Poole speculated that the statue might |
| bc of his son, also William and a surgeon | | bc of his son, also William and a surgeon |
| ( 1772-1844), but the commission comes the | | ( 1772-1844), but the commission comes the |
| year after the father's death. | | year after the father's death. |
| n | | n | @@PROCESS |
| 646. Francis HORNER MP | | 646. Francis HORNER MP |
| (1778-1817) | | (1778-1817) |
| 43.5 cms. (height); 46.5 cms. (width) | | 43.5 cms. (height); 46.5 cms. (width) |
| Head and shoulders. Sawn across the chest. From | | Head and shoulders. Sawn across the chest. From |
| a full-length standing figure. Uncleaned. Slight | | a full-length standing figure. Uncleaned. Slight |
| flaking to face and hair. | | flaking to face and hair. |
| Chantrey dft, no. 72; Efc¢c¢ RecoS.»!.jcc„ccf, no. | | Chantrey dft, no. 72; Efc¢c¢ RecoS.»!.jcc„ccf, no. |
| 29; Lane Poole, no. 584. | | 29; Lane Poole, no. 584. |
| Marble, dated 1823, in Westminster Abbey. | | Marble, dated 1823, in Westminster Abbey. |
| Commissioncd,1817, completed 1823 (RA | | Commissioncd,1817, completed 1823 (RA |
| Ledger, p. 73). Homer was a barrister and | | Ledger, p. 73). Homer was a barrister and |
| statesman. | | statesman. |
| n | | n | @@PROCESS |
| 647. sir Hugh INGLls Bt. (d. i82o) | | 647. sir Hugh INGLls Bt. (d. i82o) |
| 35.4 cms. (length) | | 35.4 cms. (length) |
| Head, shoulders, and por(ion of a rolled mattress. | | Head, shoulders, and por(ion of a rolled mattress. |
| Sawn across chest and diagonally through the | | Sawn across chest and diagonally through the |
| mattress to either side of the head. From a full-length | | mattress to either side of the head. From a full-length |
| recumbent figure. Chips missing along the | | recumbent figure. Chips missing along the |
| sawn cdgcs. A large piece detached from the drapery | | sawn cdgcs. A large piece detached from the drapery |
| at the chest (replaced for the photograph). | | at the chest (replaced for the photograph). |
| Uncleancd. Very slight flaking. | | Uncleancd. Very slight flaking. |
| Chantrey ©ft, no. 76; Etched Reminiscences, no. | | Chantrey ©ft, no. 76; Etched Reminiscences, no. |
| 58; Imc Poolc, no. 588. | | 58; Imc Poolc, no. 588. |
| Commissioned 1826, completed 1832, paid | | Commissioned 1826, completed 1832, paid |
| for 1836 (RA Ledger, p. 178). Inglis was | | for 1836 (RA Ledger, p. 178). Inglis was |
| Director of the East India Company. The | | Director of the East India Company. The |
| monument is hikcly to have been erected in | | monument is hikcly to have been erected in |
| India. | | India. |
| n | | n | @@PROCESS |
| 648. Dr Cyril TACKSON | | 648. Dr Cyril TACKSON |
| (1746-1819) | | (1746-1819) |
| 43 cms. (height) | | 43 cms. (height) |
| Head and shoulders. Sawn across chest. Chipped | | Head and shoulders. Sawn across chest. Chipped |
| at sawn cdgc. From a full-length seated figure. | | at sawn cdgc. From a full-length seated figure. |
| Uncleaned. Slightly flaking. (The head was a | | Uncleaned. Slightly flaking. (The head was a |
| scparatcly cast unit. It is now detachable and some | | scparatcly cast unit. It is now detachable and some |
| plaster is missing from the junction. ) | | plaster is missing from the junction. ) |
| Chontrey Stt, no. 78; Etched Reminiscences. no. 9S | | Chontrey Stt, no. 78; Etched Reminiscences. no. 9S |
| Idnc Poole, no. 590. | | Idnc Poole, no. 590. |
| Marble in the hall, Christ Church, Oxford. | | Marble in the hall, Christ Church, Oxford. |
| Commissioned 1820, complctcd 1825 (RA | | Commissioned 1820, complctcd 1825 (RA |
| Ledger, p. 216), exhibited Royal Academy | | Ledger, p. 216), exhibited Royal Academy |
| 1824 (no. 1006). Jackson was dean of Christ | | 1824 (no. 1006). Jackson was dean of Christ |
| Church from 1783 until his resignation in | | Church from 1783 until his resignation in |
| 1809. Chantry used the portra.it of him by | | 1809. Chantry used the portra.it of him by |
| Opie as a model. | | Opie as a model. |
| n | | n | @@PROCESS |
| 219 | | 219 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 649. Dorothy Bland, known as Mrs | | 649. Dorothy Bland, known as Mrs |
| JORDAN ( 1762-1816) | | JORDAN ( 1762-1816) |
| 39.2 cms. (height); 38.I cms. (width) | | 39.2 cms. (height); 38.I cms. (width) |
| Head and shoulders. Sawn across chest. Cleaned by | | Head and shoulders. Sawn across chest. Cleaned by |
| Rachcl Kcnward , | | Rachcl Kcnward , |
| Chantrey Sft, no. 81; Efc4c¢ Rcow¢.»¢.fce»ccf, no. | | Chantrey Sft, no. 81; Efc4c¢ Rcow¢.»¢.fce»ccf, no. |
| 30; Lane Poole, no. 593. | | 30; Lane Poole, no. 593. |
| Marble in Buckingham Palace. | | Marble in Buckingham Palace. |
| Commissioned 1831, completed 1834. See | | Commissioned 1831, completed 1834. See |
| No. 456 where the sculpture is discussed | | No. 456 where the sculpture is discussed |
| more fully. | | more fully. |
| n | | n | @@PROCESS |
| 650. Theodosia I.ouisa, countess of | | 650. Theodosia I.ouisa, countess of |
| LIVERI'OOL ( 1767-182 I ) | | LIVERI'OOL ( 1767-182 I ) |
| n | | n | @@PROCESS |
| 135.I cms. (height) | | 135.I cms. (height) |
| The plinth is chipped at all edges and scratched. | | The plinth is chipped at all edges and scratched. |
| Chips arc also missing from the top of the head, | | Chips arc also missing from the top of the head, |
| the veil, and the upper edge of the chair. The top | | the veil, and the upper edge of the chair. The top |
| of the thumb of the proper left hand has broken | | of the thumb of the proper left hand has broken |
| off and is missing. A repair to the top of the chair | | off and is missing. A repair to the top of the chair |
| (liquid plaster from which has run down the chair | | (liquid plaster from which has run down the chair |
| back). Uncleancd. Flaking, especially to top of head | | back). Uncleancd. Flaking, especially to top of head |
| and to lap. Green and black paint smeared and | | and to lap. Green and black paint smeared and |
| dribbled on the dress. | | dribbled on the dress. |
| Chantrey aft, no. 83; E}c¢cd RccoS.„S.jccceccf, no. | | Chantrey aft, no. 83; E}c¢cd RccoS.„S.jccceccf, no. |
| 42; Irme Pcole, no. 595. | | 42; Irme Pcole, no. 595. |
| Marble in All Saints Church, RIngston-on- | | Marble in All Saints Church, RIngston-on- |
| Thames. Commissioned 1822, completed | | Thames. Commissioned 1822, completed |
| 1826 (RA Ledger, p. 145), exhibited Royal | | 1826 (RA Ledger, p. 145), exhibited Royal |
| Academy 1824 (no. 1008, perhaps as a | | Academy 1824 (no. 1008, perhaps as a |
| plaster). Indy Liverpool was the daughter of | | plaster). Indy Liverpool was the daughter of |
| the fourth earl of Bristol and first wife of the | | the fourth earl of Bristol and first wife of the |
| Prime Minister. | | Prime Minister. |
| n | | n | @@PROCESS |
| 651. Sir John MALCOLM Bt. GCB | | 651. Sir John MALCOLM Bt. GCB |
| (1769-1833) | | (1769-1833) |
| 41 cms. (height) | | 41 cms. (height) |
| Head and neck. Broken off at junction of collar | | Head and neck. Broken off at junction of collar |
| with shoulders. From a whole-length standing | | with shoulders. From a whole-length standing |
| figure. A small perforation in the crown. Points | | figure. A small perforation in the crown. Points |
| visible. Uncleancd. Probably a separately cast unit | | visible. Uncleancd. Probably a separately cast unit |
| which broke when it was attempted to detach it. | | which broke when it was attempted to detach it. |
| Chantrey Sft, no. 86; Efc4e¢ Rcow¢."G.fcc»ccf, no. | | Chantrey Sft, no. 86; Efc4e¢ Rcow¢."G.fcc»ccf, no. |
| 34; I.one Poolc, no. 598. | | 34; I.one Poolc, no. 598. |
| Marble in Westminster Abbey and Bombay. | | Marble in Westminster Abbey and Bombay. |
| The latter commissioned 1831, completed | | The latter commissioned 1831, completed |
| 1836 (RA Ledger, p. 236, exhibited Royal | | 1836 (RA Ledger, p. 236, exhibited Royal |
| Academy 1837 (no. 1161, specified as of | | Academy 1837 (no. 1161, specified as of |
| marble). Malcolm was a. noted diplomat a.nd | | marble). Malcolm was a. noted diplomat a.nd |
| administrator in India. He was governor of | | administrator in India. He was governor of |
| Bombay. See No. 729. | | Bombay. See No. 729. |
| n | | n | @@PROCESS |
| 220 | | 220 |
| n | | n | @@PROCESS |
| 650 | | 650 |
| n | | n | @@PROCESS |
| 651 | | 651 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 652. James NORTHCOTE RA | | 652. James NORTHCOTE RA |
| (1746-1831) | | (1746-1831) |
| n | | n | @@PROCESS |
| 142.8 cms. (height) | | 142.8 cms. (height) |
| Thcrc arc large losses to the cdgc of the palette. | | Thcrc arc large losses to the cdgc of the palette. |
| Thrcc fragments survive (but do not quite fill the | | Thrcc fragments survive (but do not quite fill the |
| gaps). There arc three dents on the collar to proper | | gaps). There arc three dents on the collar to proper |
| left. The plinth is chipped, cspccially at the comer | | left. The plinth is chipped, cspccially at the comer |
| behind to proper left. A large piece has been broken | | behind to proper left. A large piece has been broken |
| from the proper right foot. Minor chips arc missing | | from the proper right foot. Minor chips arc missing |
| elscwhcre. Uncleaned. Flaking on the proper right | | elscwhcre. Uncleaned. Flaking on the proper right |
| knee and on the crown. | | knee and on the crown. |
| Chantrey dft, no. 101; Efcded Reow¢.7¢¢.fcc»ccf, no. | | Chantrey dft, no. 101; Efcded Reow¢.7¢¢.fcc»ccf, no. |
| 38; Lane Poolc, no. 613. | | 38; Lane Poolc, no. 613. |
| Marble in Exeter Cathedral. Commissioned | | Marble in Exeter Cathedral. Commissioned |
| 1831, completed 1840 (RA Ledger, p. 237), | | 1831, completed 1840 (RA Ledger, p. 237), |
| exhibited Royal Academy 1840 (no. 1074, | | exhibited Royal Academy 1840 (no. 1074, |
| specified as of marble). Northcote was a | | specified as of marble). Northcote was a |
| painter, chiefly of portraits, and a minor | | painter, chiefly of portraits, and a minor |
| author. | | author. |
| n | | n | @@PROCESS |
| 653. William PITT ( 1759-1806) | | 653. William PITT ( 1759-1806) |
| 57.3 cms. (height) | | 57.3 cms. (height) |
| Head. Dctachcd at the neck about two inches below | | Head. Dctachcd at the neck about two inches below |
| chin. From a colossal whole-length standing figure. | | chin. From a colossal whole-length standing figure. |
| Large chip missing from cdgc behind head. | | Large chip missing from cdgc behind head. |
| Uncleaned. The head was cvidcntly a separately | | Uncleaned. The head was cvidcntly a separately |
| cast unit lcvered off, rather than sawn from, the | | cast unit lcvered off, rather than sawn from, the |
| body. | | body. |
| Chantrcy &tt` no. \07S Etched Reminiscences, no. | | Chantrcy &tt` no. \07S Etched Reminiscences, no. |
| 3; Iame Poole, no. 619. | | 3; Iame Poole, no. 619. |
| Bronze in Hanover Square, Ijondon. | | Bronze in Hanover Square, Ijondon. |
| Commissioned 1831, completed 1833 (RA | | Commissioned 1831, completed 1833 (RA |
| Ledger, p. 247). Pitt was Tory Prime Minister | | Ledger, p. 247). Pitt was Tory Prime Minister |
| 1783-1800. | | 1783-1800. |
| n | | n | @@PROCESS |
| 654. Sir Thomas Stamford RAFFLES | | 654. Sir Thomas Stamford RAFFLES |
| (1781-1826) | | (1781-1826) |
| 45.8 cms. (height) | | 45.8 cms. (height) |
| Head, shoulders, and proper right forearm. Sawn | | Head, shoulders, and proper right forearm. Sawn |
| through chest and am. From a whole-length seated | | through chest and am. From a whole-length seated |
| figure, chips missing from edge of coat collar. | | figure, chips missing from edge of coat collar. |
| Unclcancd. Extensive flaking. | | Unclcancd. Extensive flaking. |
| Chantrey Sft, no. I 10; Efc4cd Rceez."z.rcc#ccf, no. | | Chantrey Sft, no. I 10; Efc4cd Rceez."z.rcc#ccf, no. |
| 20; Lane Poole, no. 622. | | 20; Lane Poole, no. 622. |
| Marble dated 1832 in Westminster Abbey. A | | Marble dated 1832 in Westminster Abbey. A |
| bust of Raffles was commissioned and | | bust of Raffles was commissioned and |
| completed in 1817 (RA Ledger, p. 53). | | completed in 1817 (RA Ledger, p. 53). |
| Raffles was Govcmor first of Java and then | | Raffles was Govcmor first of Java and then |
| of singapore. | | of singapore. |
| n | | n | @@PROCESS |
| 655. Ellen Jane ROBINSON | | 655. Ellen Jane ROBINSON |
| (d. c.1815) | | (d. c.1815) |
| 25.8 cms. (height) | | 25.8 cms. (height) |
| Head. Scvcred through the upper neck. From a | | Head. Scvcred through the upper neck. From a |
| whole-length rccumbcnt figure. Cleaned by Rachel | | whole-length rccumbcnt figure. Cleaned by Rachel |
| Kenward. Picccs of iron and rust in the interior of | | Kenward. Picccs of iron and rust in the interior of |
| n | | n | @@PROCESS |
| 221 | | 221 |
| the head suggest that an iron dowel was used. The | | the head suggest that an iron dowel was used. The |
| head sccms to have been a separately cast unit. The | | head sccms to have been a separately cast unit. The |
| porous surface comes from air bubbles in the | | porous surface comes from air bubbles in the |
| plaster. | | plaster. |
| Etched Reminiscences` rro. \ . | | Etched Reminiscences` rro. \ . |
| Marble group (of interlaced effigies of Ellen | | Marble group (of interlaced effigies of Ellen |
| Jane and her sister Mariannc) in Lichficld | | Jane and her sister Mariannc) in Lichficld |
| Cathedral. Commissioned 1815 (RA Ledger, | | Cathedral. Commissioned 1815 (RA Ledger, |
| p. 43), exhibited Royal Academy 1817 (no. | | p. 43), exhibited Royal Academy 1817 (no. |
| 1029). The S/ccP¢."g c¢¢./drc" was among the | | 1029). The S/ccP¢."g c¢¢./drc" was among the |
| most famous of Chantrcy's sculptures; the | | most famous of Chantrcy's sculptures; the |
| children themselves were among the most | | children themselves were among the most |
| obscure of all his subjects. | | obscure of all his subjects. |
| n | | n | @@PROCESS |
| 656. William ROSCOE MP | | 656. William ROSCOE MP |
| (1753-1831) | | (1753-1831) |
| 26.4 cms. (height of head); 23.I cms. (height of | | 26.4 cms. (height of head); 23.I cms. (height of |
| upper chest without head) | | upper chest without head) |
| Head and shoulders (the former now detached). | | Head and shoulders (the former now detached). |
| Sawn through the chest. From a whole-length | | Sawn through the chest. From a whole-length |
| seated figure. Unclcaned. Flaking to shoulders and 1:`J¥ t | | seated figure. Unclcaned. Flaking to shoulders and 1:`J¥ t |
| hair. The head was probably cast as a separate unit. | | hair. The head was probably cast as a separate unit. |
| Chantrey Sft, no. 112; Efc¢Gd RcowS.„;fcc„ccf, no. | | Chantrey Sft, no. 112; Efc¢Gd RcowS.„;fcc„ccf, no. |
| 10; Lane Poolc, no. 624. | | 10; Lane Poolc, no. 624. |
| Marble in St George's Hall, I.iverpool. | | Marble in St George's Hall, I.iverpool. |
| Commissioned 1835 (RA Ledger, p. 265), | | Commissioned 1835 (RA Ledger, p. 265), |
| exhibited Royal Academy 1840 (no. 1071, | | exhibited Royal Academy 1840 (no. 1071, |
| specified as marble). Roscoe was a historian | | specified as marble). Roscoe was a historian |
| and promoter of cultural life in Liverpool. | | and promoter of cultural life in Liverpool. |
| n | | n | @@PROCESS |
| 657. Lady Louisa Jane RUSSELL | | 657. Lady Louisa Jane RUSSELL |
| (later duchess of Abercorn) | | (later duchess of Abercorn) |
| (1812-1905) | | (1812-1905) |
| 28.4 cms, (height) | | 28.4 cms, (height) |
| Head, shoulders, hands, and dove. Sawn through | | Head, shoulders, hands, and dove. Sawn through |
| the chest and wrists. From a whole-length standing | | the chest and wrists. From a whole-length standing |
| figure. Cleancd by Rachcl Kenward. The head was | | figure. Cleancd by Rachcl Kenward. The head was |
| cast as a separate unit and is slightly loose. Points | | cast as a separate unit and is slightly loose. Points |
| are very evident. | | are very evident. |
| Chantrey gift, no. I 14; Efcded RcowG."G.fcc"ccf, no. | | Chantrey gift, no. I 14; Efcded RcowG."G.fcc"ccf, no. |
| 5; Lenc Poole, no. 626. | | 5; Lenc Poole, no. 626. |
| Marble at Woburn Abbey, Bedfordshire. | | Marble at Woburn Abbey, Bedfordshire. |
| Commissioned 1817, completed 1818, | | Commissioned 1817, completed 1818, |
| exhibited Royal Academy 1818 (no.1116), | | exhibited Royal Academy 1818 (no.1116), |
| delivered to Woburn 1819 (Potts, no. 26). | | delivered to Woburn 1819 (Potts, no. 26). |
| Ijouisa was the younger daughter of the sixth | | Ijouisa was the younger daughter of the sixth |
| duke of Bedford. She married the second | | duke of Bedford. She married the second |
| marquess (later the duke) of Abercorn in | | marquess (later the duke) of Abercorn in |
| 1832. | | 1832. |
| n | | n | @@PROCESS |
| 658. Henry RYDER, bishop of | | 658. Henry RYDER, bishop of |
| Lichfield and Coventry ( 1777-1836) | | Lichfield and Coventry ( 1777-1836) |
| 33.5 cms. (height of head); 29.7 cms. (height of | | 33.5 cms. (height of head); 29.7 cms. (height of |
| upper chest without head); 50.I cms. (width of | | upper chest without head); 50.I cms. (width of |
| upper chest) | | upper chest) |
| Head and shoulders (the former now detached). | | Head and shoulders (the former now detached). |
| Sawn through the chest. From a whole-length | | Sawn through the chest. From a whole-length |
| kneeling figure. Chips missing from the folds of | | kneeling figure. Chips missing from the folds of |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| both slcevcs along sawn cdgc. Uncleaned. Flaking | | both slcevcs along sawn cdgc. Uncleaned. Flaking |
| to the crown of the head. A large crack under the | | to the crown of the head. A large crack under the |
| chin. | | chin. |
| Chantrey Sft, no. I 15; Efchcd Rcow;„ifcG„ccf, no. | | Chantrey Sft, no. I 15; Efchcd Rcow;„ifcG„ccf, no. |
| 13; hanc Poolc, no. 627. | | 13; hanc Poolc, no. 627. |
| Marble serves as monument in Lichfield | | Marble serves as monument in Lichfield |
| Cathedral (N. 8. Penny, C¢"rc¢ Mo"#owG„£r | | Cathedral (N. 8. Penny, C¢"rc¢ Mo"#owG„£r |
| in Romantic England (INow H:aNen, Conn., | | in Romantic England (INow H:aNen, Conn., |
| and Ijondon, 1977), 78, pl. 57). | | and Ijondon, 1977), 78, pl. 57). |
| Commissioned 1836 (RA Ledger, p. 284), | | Commissioned 1836 (RA Ledger, p. 284), |
| exhibited Royal Academy 1841 (no.1251 ). | | exhibited Royal Academy 1841 (no.1251 ). |
| n | | n | @@PROCESS |
| 659. Martha, Countess | | 659. Martha, Countess |
| ST VINCENT (d. 1816) | | ST VINCENT (d. 1816) |
| 28.2 cms. (height); 36 cms. (width) | | 28.2 cms. (height); 36 cms. (width) |
| Head and shoulders. Sawn through upper chest. | | Head and shoulders. Sawn through upper chest. |
| From a whole-length kneeling figure. Chips missing | | From a whole-length kneeling figure. Chips missing |
| from sawn edge and large chip missing from the | | from sawn edge and large chip missing from the |
| veil to proper right. Treated by Kathleen Kimber | | veil to proper right. Treated by Kathleen Kimber |
| (then Miss Wcstem) 1959ndo and given a new | | (then Miss Wcstem) 1959ndo and given a new |
| painted surface to imitate the colour and polish of | | painted surface to imitate the colour and polish of |
| marble, Flaking. | | marble, Flaking. |
| Chantrey Sft, no. 131; E}cAed Rcw2;„£.TCG%ccf. no. | | Chantrey Sft, no. 131; E}cAed Rcw2;„£.TCG%ccf. no. |
| 31; hanc Poole, no. 643. | | 31; hanc Poole, no. 643. |
| The marble scrvcs as a monument in | | The marble scrvcs as a monument in |
| Cavcrswall Church, Staffordshirc (N. 8. | | Cavcrswall Church, Staffordshirc (N. 8. |
| Pcr\Iry. Church Moriunents in Romantic | | Pcr\Iry. Church Moriunents in Romantic |
| Eceg/¢»d (New Haven, Conn. , and London, | | Eceg/¢»d (New Haven, Conn. , and London, |
| 1977), 71, pl. 51). Commissioned 1816, | | 1977), 71, pl. 51). Commissioned 1816, |
| completed 1818 (RA Ledger, p. 45). An | | completed 1818 (RA Ledger, p. 45). An |
| idcalized portrait reused by the sculptor for | | idcalized portrait reused by the sculptor for |
| monuments to ladies-it could be mistaken | | monuments to ladies-it could be mistaken |
| as an idealized moumer as distinct from a | | as an idealized moumer as distinct from a |
| portrait of the deceased (see ibid. 71-3) but | | portrait of the deceased (see ibid. 71-3) but |
| for the presence of a coronet carelessly | | for the presence of a coronet carelessly |
| propped by her side. This coronet, however, | | propped by her side. This coronet, however, |
| was perhaps an afterthought, for it is absent | | was perhaps an afterthought, for it is absent |
| from the plaster as iuustratcd in Efc4c¢ | | from the plaster as iuustratcd in Efc4c¢ |
| RcowS.„G.fcc"ccj where the composition is | | RcowS.„G.fcc"ccj where the composition is |
| captioned `A cenotaph'. For Irddy St | | captioned `A cenotaph'. For Irddy St |
| Vincent's husband see No. 753. | | Vincent's husband see No. 753. |
| n | | n | @@PROCESS |
| 660. I.ady Frederica I.ouisa | | 660. I.ady Frederica I.ouisa |
| STANHOPE ( 1800-23) | | STANHOPE ( 1800-23) |
| 35.1 cms. (length) | | 35.1 cms. (length) |
| Head, Sawn through the neck, From a whole-length | | Head, Sawn through the neck, From a whole-length |
| recumbent figure. Uncleaned. Some flaking to chin | | recumbent figure. Uncleaned. Some flaking to chin |
| and to veil. | | and to veil. |
| Chantrey gft, no. 126; EfcAc/ Rcee¢.„¢.jce„cer, no. | | Chantrey gft, no. 126; EfcAc/ Rcee¢.„¢.jce„cer, no. |
| 41; I.arc Poole, no. 638. | | 41; I.arc Poole, no. 638. |
| Marble serves as monument in Chevening, | | Marble serves as monument in Chevening, |
| Kent (N. 8. Penny, C¢"rc47 Mo##coc"£r ¢.„ | | Kent (N. 8. Penny, C¢"rc47 Mo##coc"£r ¢.„ |
| Roow¢»f;c E"g/a"d (New Haven, Conn., and | | Roow¢»f;c E"g/a"d (New Haven, Conn., and |
| London, 1977), 120, pl. 90). Commissioned | | London, 1977), 120, pl. 90). Commissioned |
| 1823, completed 1827 (RA Ledger, p.150). | | 1823, completed 1827 (RA Ledger, p.150). |
| The monument is wrongly said by Fisher in | | The monument is wrongly said by Fisher in |
| Efc4cd RGovG."¢.fGe~cff to be at Chievling | | Efc4cd RGovG."¢.fGe~cff to be at Chievling |
| Church and by IAne Poole to be at Chieveley | | Church and by IAne Poole to be at Chieveley |
| Church, Bcrkshire. I.ady Stanhope was the | | Church, Bcrkshire. I.ady Stanhope was the |
| daughter of the earl of Mansfield and wife of | | daughter of the earl of Mansfield and wife of |
| n | | n | @@PROCESS |
| 222 | | 222 |
| the Hon. James, son of the first Earl | | the Hon. James, son of the first Earl |
| Stanhope. She died in childbed and the | | Stanhope. She died in childbed and the |
| monument depicted her with her child at her | | monument depicted her with her child at her |
| breast. | | breast. |
| n | | n | @@PROCESS |
| 661. Jessie Anne Letitia, Mrs Thomas | | 661. Jessie Anne Letitia, Mrs Thomas |
| Taylor VERNON, with her two sons | | Taylor VERNON, with her two sons |
| (d. 1840) | | (d. 1840) |
| n | | n | @@PROCESS |
| 147 cms. (height); 103,5 cms. (width); 27.5 | | 147 cms. (height); 103,5 cms. (width); 27.5 |
| cms. (depth of base) | | cms. (depth of base) |
| Chipped at edges of base, especially in proper right | | Chipped at edges of base, especially in proper right |
| comer, also on the drapery of the kneeling child and | | comer, also on the drapery of the kneeling child and |
| on upper edge. Uncleaned. FlaLking and scratched, | | on upper edge. Uncleaned. FlaLking and scratched, |
| Chantrey aft, no. 139; Efcded RGowG."¢.fcc»cGf, no. | | Chantrey aft, no. 139; Efcded RGowG."¢.fcc»cGf, no. |
| 50; I.anc Poole, no. 651. | | 50; I.anc Poole, no. 651. |
| The relief served as a monument to Mrs | | The relief served as a monument to Mrs |
| Vemon's husband (d. 1835) at Hanbury, | | Vemon's husband (d. 1835) at Hanbury, |
| Worcestershire. Commissioned 1836, | | Worcestershire. Commissioned 1836, |
| completed 1839 (RA Ledger, p. 279). The | | completed 1839 (RA Ledger, p. 279). The |
| porrfut of Mrs Vernon and her sons is | | porrfut of Mrs Vernon and her sons is |
| obviously idealized. | | obviously idealized. |
| n | | n | @@PROCESS |
| 662. George WASHINGTON | | 662. George WASHINGTON |
| (1732-99) | | (1732-99) |
| 43.8 cms. (height); 54.5 cms. (width) | | 43.8 cms. (height); 54.5 cms. (width) |
| Head and shoulders. Sawn through the upper chest. | | Head and shoulders. Sawn through the upper chest. |
| From a full,length standing portrait. Chips missing | | From a full,length standing portrait. Chips missing |
| at the sawn edge. Uncleaned. Extensive flaking. | | at the sawn edge. Uncleaned. Extensive flaking. |
| Chantrey aft, no. 142; Efcded Rcow¢."!.fcc"ccf, no. | | Chantrey aft, no. 142; Efcded Rcow¢."!.fcc"ccf, no. |
| 11; Lane Poolc, no. 654. | | 11; Lane Poolc, no. 654. |
| The marble is in the State House, Boston, | | The marble is in the State House, Boston, |
| Massachusetts. Commissioned 1819, paid for | | Massachusetts. Commissioned 1819, paid for |
| 1827 (RA Ledger, no. 102), exhibited Royal | | 1827 (RA Ledger, no. 102), exhibited Royal |
| Academy 1826 (no.1071). A full account of | | Academy 1826 (no.1071). A full account of |
| the commission is given in i4# B#//cty.» (June | | the commission is given in i4# B#//cty.» (June |
| ig89), 254nd8. | | ig89), 254nd8. |
| n | | n | @@PROCESS |
| 663. James WATT (1736-1819) | | 663. James WATT (1736-1819) |
| 40.4 cms. (height); 40.8 cms. (width) | | 40.4 cms. (height); 40.8 cms. (width) |
| Head and shoulders. Sawn through chest. From a | | Head and shoulders. Sawn through chest. From a |
| full-length seated statue. Chips missing from the | | full-length seated statue. Chips missing from the |
| sawn edge. Some shallow prelimimry sawing cuts. | | sawn edge. Some shallow prelimimry sawing cuts. |
| Unclcancd. Flaking. | | Unclcancd. Flaking. |
| Chantrey Sft, no. 144; Efded RG„;.%j.fce7ecef, no. | | Chantrey Sft, no. 144; Efded RG„;.%j.fce7ecef, no. |
| 8; hone Poolc, no. 656+ | | 8; hone Poolc, no. 656+ |
| OriSnal marble version serves as a monument | | OriSnal marble version serves as a monument |
| in Handsworth Church, Birmingham (N. 8. | | in Handsworth Church, Birmingham (N. 8. |
| Penny , Church Monunen:Ss in Romantic | | Penny , Church Monunen:Ss in Romantic |
| Erg/¢„¢ (New Haven, Conn., and I.ondon, | | Erg/¢„¢ (New Haven, Conn., and I.ondon, |
| 1977), 198-201, pls. 142 and 143); replicas | | 1977), 198-201, pls. 142 and 143); replicas |
| in marble for the Huntcrian Museum, | | in marble for the Huntcrian Museum, |
| Glasgow University, and Greenoch, and in | | Glasgow University, and Greenoch, and in |
| bronze for Glasgow, and enlarged in marble | | bronze for Glasgow, and enlarged in marble |
| for Westminster Abbey (now in the crypt of | | for Westminster Abbey (now in the crypt of |
| St Paul's Cathedral). Original marble | | St Paul's Cathedral). Original marble |
| commissioned 1820, completed 1824 (RA | | commissioned 1820, completed 1824 (RA |
| n | | n | @@PROCESS |
| 657 | | 657 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 665 | | 665 |
| n | | n | @@PROCESS |
| 666 | | 666 |
| fof;i/ | | fof;i/ |
| I.edger, p. 124), exhibited Royal Academy | | I.edger, p. 124), exhibited Royal Academy |
| 1824 (no. 1010). Watt was the most famous | | 1824 (no. 1010). Watt was the most famous |
| British inventor and engineer of his period. | | British inventor and engineer of his period. |
| n | | n | @@PROCESS |
| 664, 665, and 666. David Pike | | 664, 665, and 666. David Pike |
| WATTS, his daughter, and an infant | | WATTS, his daughter, and an infant |
| (1754-1816) | | (1754-1816) |
| 25.6 cms. (height of fragment of watts, 664); | | 25.6 cms. (height of fragment of watts, 664); |
| 38.8 cms. (height of fragment of Maria Watts | | 38.8 cms. (height of fragment of Maria Watts |
| Russell, 665); 13.9 cms. (height of fragment of | | Russell, 665); 13.9 cms. (height of fragment of |
| infant, 666) | | infant, 666) |
| (664) Head. Sawn through the neck. From a full-length | | (664) Head. Sawn through the neck. From a full-length |
| reclining figure. Uncleancd. Sheuac is | | reclining figure. Uncleancd. Sheuac is |
| unusually ruddy. | | unusually ruddy. |
| (665) Head, shoulders, and part of proper left hand. | | (665) Head, shoulders, and part of proper left hand. |
| Sawn through the hand and bosom. From a full-length | | Sawn through the hand and bosom. From a full-length |
| kneeling figure. Chips missing from the sawn | | kneeling figure. Chips missing from the sawn |
| edge. Part of the middle finger broken off. | | edge. Part of the middle finger broken off. |
| Unclcancd. Points visible in hair. Flaking chiefly on | | Unclcancd. Points visible in hair. Flaking chiefly on |
| face. | | face. |
| (666) Part of head and drapery. Sawn through | | (666) Part of head and drapery. Sawn through |
| check diagonally. From the whole-length standing | | check diagonally. From the whole-length standing |
| infant pressed against Mrs Watts Russcu.s side. | | infant pressed against Mrs Watts Russcu.s side. |
| Uncleaned. | | Uncleaned. |
| Cho[\:tray Stt, i\o. \45S Etched Reminiscences, no. | | Cho[\:tray Stt, i\o. \45S Etched Reminiscences, no. |
| 35; Ime Pcole, no. 657. | | 35; Ime Pcole, no. 657. |
| Marble group of David Pike Watts on his | | Marble group of David Pike Watts on his |
| deathbed blessing his daughter Mrs Watts | | deathbed blessing his daughter Mrs Watts |
| Russell, who kneels beside him with three | | Russell, who kneels beside him with three |
| children, is in llam Church, Derbyshire (N. | | children, is in llam Church, Derbyshire (N. |
| 8. Pc;:r\ny , Cbt4rch Monuments in Romantic | | 8. Pc;:r\ny , Cbt4rch Monuments in Romantic |
| E„4/¢"d (New Haven, Conn., and I.ondon, | | E„4/¢"d (New Haven, Conn., and I.ondon, |
| 1977), 80-5, pl. 61). Commissioned 1816, | | 1977), 80-5, pl. 61). Commissioned 1816, |
| completed 1827, paid for 1829 (RA Ijedgcr, | | completed 1827, paid for 1829 (RA Ijedgcr, |
| p. 64), but erected 1826 (according to | | p. 64), but erected 1826 (according to |
| inscription). | | inscription). |
| n | | n | @@PROCESS |
| 667 and 668. Mourners of James | | 667 and 668. Mourners of James |
| WILDAEN (d. c.1817) | | WILDAEN (d. c.1817) |
| 30.4 cms. (height of fragment of female | | 30.4 cms. (height of fragment of female |
| mourner, 667); 52.3 cms. (height of fragment | | mourner, 667); 52.3 cms. (height of fragment |
| of male moumcr, 668) | | of male moumcr, 668) |
| (667) Head, proper left forearm, and proper right | | (667) Head, proper left forearm, and proper right |
| shoulder. Sawn across shoulders and arm. From a | | shoulder. Sawn across shoulders and arm. From a |
| full-length scatcd figure. Uncleaned. Extensive | | full-length scatcd figure. Uncleaned. Extensive |
| flaking. | | flaking. |
| (668) Head and shoulders. Sawn across upper chest | | (668) Head and shoulders. Sawn across upper chest |
| and cut vcll:ically through proper right arm. From | | and cut vcll:ically through proper right arm. From |
| a full-length seated figure. Head dcl:achable. | | a full-length seated figure. Head dcl:achable. |
| Uncleancd. Unusually red in colour. Extensive | | Uncleancd. Unusually red in colour. Extensive |
| flaking. The vertical cut is oritinal. | | flaking. The vertical cut is oritinal. |
| Cl\antrey gLft` no. 67; Etched Reminiscences, Ilo. | | Cl\antrey gLft` no. 67; Etched Reminiscences, Ilo. |
| 33. | | 33. |
| Marble group of a male and female moumer | | Marble group of a male and female moumer |
| beside a sarcophagus (another younger | | beside a sarcophagus (another younger |
| female with her head buried in the lattcr's lap) | | female with her head buried in the lattcr's lap) |
| n | | n | @@PROCESS |
| 668 is in chi|ham church, Kent, commemorating | | 668 is in chi|ham church, Kent, commemorating |
| James Wildman. Commissioned 1817, paid | | James Wildman. Commissioned 1817, paid |
| for 1820 (RA Ledger, p. 273). The portraits, | | for 1820 (RA Ledger, p. 273). The portraits, |
| presumably of the deceascd's children and | | presumably of the deceascd's children and |
| grandchildren, are obviously idealizcd and are | | grandchildren, are obviously idealizcd and are |
| not included in I.ane Poole. | | not included in I.ane Poole. |
| n | | n | @@PROCESS |
| 223 | | 223 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 669. Sir Ralph WOODFORD | | 669. Sir Ralph WOODFORD |
| (d. c.1835) | | (d. c.1835) |
| 37.8 cms. (height) | | 37.8 cms. (height) |
| Head, collar, and part of right hand. Sawn across | | Head, collar, and part of right hand. Sawn across |
| collar and hand. From a full-lcngth reclining figure. | | collar and hand. From a full-lcngth reclining figure. |
| Chips missing from back of collar, front of collar, | | Chips missing from back of collar, front of collar, |
| the hair, the left nostril. Points visible. Partially | | the hair, the left nostril. Points visible. Partially |
| clcancd by Rachel Kcnward. Painted in a white | | clcancd by Rachel Kcnward. Painted in a white |
| across back of collar. `WooDFORD'. A separately | | across back of collar. `WooDFORD'. A separately |
| cast unit. | | cast unit. |
| Etched Runiniscences, rio. 57 . | | Etched Runiniscences, rio. 57 . |
| Marble serves as a monument in Trinidad | | Marble serves as a monument in Trinidad |
| Cathedral. Commissioned 1835, completed | | Cathedral. Commissioned 1835, completed |
| 1839 (RA Ledger, p. 273). The head may | | 1839 (RA Ledger, p. 273). The head may |
| well have been detached from the body | | well have been detached from the body |
| previous to the destruction of the statues in | | previous to the destruction of the statues in |
| 1938 and this would explain the identification | | 1938 and this would explain the identification |
| on the back. If it was put away in a cupboard | | on the back. If it was put away in a cupboard |
| after such an accident then that would explain | | after such an accident then that would explain |
| its omission from I.anc Poole's catalogue. | | its omission from I.anc Poole's catalogue. |
| n | | n | @@PROCESS |
| 670. Female mourner | | 670. Female mourner |
| 27 cms. (length) | | 27 cms. (length) |
| Head, shoulders, and arms. Sawn across upper back | | Head, shoulders, and arms. Sawn across upper back |
| and through the drapery below the arms. From a | | and through the drapery below the arms. From a |
| full-length kneeling figure leaning on a block. | | full-length kneeling figure leaning on a block. |
| Fingers of the proper left hand broken. Unclcaned. | | Fingers of the proper left hand broken. Unclcaned. |
| Flaking. The body is solid. | | Flaking. The body is solid. |
| Etched Reminiscences, no. 45. | | Etched Reminiscences, no. 45. |
| Identified as `A Monumcnt' in the Efc4ed | | Identified as `A Monumcnt' in the Efc4ed |
| RG„¢.„;rcc„cef this idealized figure was | | RG„¢.„;rcc„cef this idealized figure was |
| doubtless employed, possibly more than once, | | doubtless employed, possibly more than once, |
| as a church monument by Chantrey. | | as a church monument by Chantrey. |
| n | | n | @@PROCESS |
| 671. Male and female moumers by | | 671. Male and female moumers by |
| an urn | | an urn |
| n | | n | @@PROCESS |
| 168 cms. (height); 112 cms. (length); 26 cms. | | 168 cms. (height); 112 cms. (length); 26 cms. |
| (width at base) | | (width at base) |
| Base somcwha.t chipped. Uncleaned. Flaking and | | Base somcwha.t chipped. Uncleaned. Flaking and |
| surface scratches. `8' painted in black on front face | | surface scratches. `8' painted in black on front face |
| of plinth to proper right. Cuts on the necks look | | of plinth to proper right. Cuts on the necks look |
| like preliminaries to decapitation subscqucntly | | like preliminaries to decapitation subscqucntly |
| abandoned. | | abandoned. |
| Chantrey aft, no. 8; Efc4cd RGow¢.„!.jccoccf, no. 49. | | Chantrey aft, no. 8; Efc4cd RGow¢.„!.jccoccf, no. 49. |
| Identified as a `monumental design' in the | | Identified as a `monumental design' in the |
| Efc¢cd Rcow®."G.fcG„cef this must have been | | Efc¢cd Rcow®."G.fcG„cef this must have been |
| projected, and was probably employed, as a | | projected, and was probably employed, as a |
| church monument by Chantrey, perhaps on | | church monument by Chantrey, perhaps on |
| more than one occasion. | | more than one occasion. |
| n | | n | @@PROCESS |
| 224 | | 224 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 672. Brace of woodcocks | | 672. Brace of woodcocks |
| n | | n | @@PROCESS |
| 120 cms. (height); 47.3 cms. (length); 17.4 cms. | | 120 cms. (height); 47.3 cms. (length); 17.4 cms. |
| (width) | | (width) |
| Chipped on crowning scroll to proper right and in | | Chipped on crowning scroll to proper right and in |
| the centre, also at lower comers. Unclcancd. | | the centre, also at lower comers. Unclcancd. |
| Incised in model and reinforced in the plaster in | | Incised in model and reinforced in the plaster in |
| neat capitals: `Two Woodcocks/killed at | | neat capitals: `Two Woodcocks/killed at |
| Hollcham/Nov. 1830/By Francis Chantrey, | | Hollcham/Nov. 1830/By Francis Chantrey, |
| sculptor/At one shot!/Prescntcd to Thos Win. | | sculptor/At one shot!/Prescntcd to Thos Win. |
| Coke Esq 1834'. | | Coke Esq 1834'. |
| Etched Reminiscences, rro. 6. | | Etched Reminiscences, rro. 6. |
| The marble, dated 1834, is at Hollcham Hall | | The marble, dated 1834, is at Hollcham Hall |
| (Potts, no. 29). Modelled 1833 and | | (Potts, no. 29). Modelled 1833 and |
| presented 1834 (RA I.cdger, p. 257). | | presented 1834 (RA I.cdger, p. 257). |
| n | | n | @@PROCESS |
| 673. Hector recommending his son to | | 673. Hector recommending his son to |
| the Protection Of the gods | | the Protection Of the gods |
| n | | n | @@PROCESS |
| 186 cms. (height); 144 cms. (length); 24 cms. | | 186 cms. (height); 144 cms. (length); 24 cms. |
| (width at base) | | (width at base) |
| The plinth shattered at comers of base. Many | | The plinth shattered at comers of base. Many |
| fragments rcmaln. Numerous chips missing from | | fragments rcmaln. Numerous chips missing from |
| cdgcs. Sawn line through Andromache's neck. The | | cdgcs. Sawn line through Andromache's neck. The |
| tip of nose of the nurse has been broken off, also | | tip of nose of the nurse has been broken off, also |
| the proper right thumb of Astyanax. Uncleaned. | | the proper right thumb of Astyanax. Uncleaned. |
| Flaking. | | Flaking. |
| Etched Reminiscences, rro. q7 . | | Etched Reminiscences, rro. q7 . |
| The marble, dated 1828, is in the sculpture | | The marble, dated 1828, is in the sculpture |
| gallery at Woburn Abbey. Commissioned by | | gallery at Woburn Abbey. Commissioned by |
| the sixth duke of Bedford. | | the sixth duke of Bedford. |
| n | | n | @@PROCESS |
| 674. PenelopeJs rehactance to prodttce | | 674. PenelopeJs rehactance to prodttce |
| the bow Of Ulysses | | the bow Of Ulysses |
| n | | n | @@PROCESS |
| 185 cms. (height); 146 cms. (length); 24 cms. | | 185 cms. (height); 146 cms. (length); 24 cms. |
| (width at base) | | (width at base) |
| Numerous chips missing from edges of the base. | | Numerous chips missing from edges of the base. |
| The bowstring is made of jute dipped in plaster. | | The bowstring is made of jute dipped in plaster. |
| The index finger of Pcnclope's left hand broken off, | | The index finger of Pcnclope's left hand broken off, |
| also the tip of the thumb of her other hand | | also the tip of the thumb of her other hand |
| (prcscrved). Unclcaned. Flaking. `Penelope' is | | (prcscrved). Unclcaned. Flaking. `Penelope' is |
| painted in black on front face of plinth. `Across her | | painted in black on front face of plinth. `Across her |
| knees she laid the well-worn brow/And pcnsivc sat, | | knees she laid the well-worn brow/And pcnsivc sat, |
| and tears began to flow', from Pope's translation | | and tears began to flow', from Pope's translation |
| of Homer's I/¢.¢d (Book XXI), now only legible in | | of Homer's I/¢.¢d (Book XXI), now only legible in |
| the first half of the first line, is incised in the model | | the first half of the first line, is incised in the model |
| on the ffont face of base to proper right. | | on the ffont face of base to proper right. |
| Paper label, no. 172; E4cded RccoS.#S+cc7ccef, no. 48. | | Paper label, no. 172; E4cded RccoS.#S+cc7ccef, no. 48. |
| The marble, dated 1828, is in the sculpture | | The marble, dated 1828, is in the sculpture |
| gallery at Wobum Abbey. Commissioned by | | gallery at Wobum Abbey. Commissioned by |
| the sixth duke of Bcdford. | | the sixth duke of Bcdford. |
| n | | n | @@PROCESS |
| 675. Head Of a young woman | | 675. Head Of a young woman |
| 18.5 cms, (height) | | 18.5 cms, (height) |
| Sawn across neck. Chips missing from the point of | | Sawn across neck. Chips missing from the point of |
| the nose, from some of the curls, and from the | | the nose, from some of the curls, and from the |
| neck. Unclcancd. Flaking. Solid cast. | | neck. Unclcancd. Flaking. Solid cast. |
| The head cannot be identified for certain with | | The head cannot be identified for certain with |
| any sculpture by Chantrey and is unusual in | | any sculpture by Chantrey and is unusual in |
| style. | | style. |
| EL:+u,ITS,:,i,i!;,,rd,;i,,, | | EL:+u,ITS,:,i,i!;,,rd,;i,,, |
| n | | n | @@PROCESS |
| 225 | | 225 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| PART 11 | | PART 11 |
| Bust portraits | | Bust portraits |
| n | | n | @@PROCESS |
| 676. John Hamilton, lst marquess | | 676. John Hamilton, lst marquess |
| ofABERCORN (1756-1818) | | ofABERCORN (1756-1818) |
| 74 cms. (height including socle); 12.6 cms. | | 74 cms. (height including socle); 12.6 cms. |
| (height of socle) | | (height of socle) |
| Bust cleaned by Mohammcd Salch. Some flaking | | Bust cleaned by Mohammcd Salch. Some flaking |
| shellac rcmalns. The socle unclcaned and loose. | | shellac rcmalns. The socle unclcaned and loose. |
| Points visible on neck. Name painted on socle. | | Points visible on neck. Name painted on socle. |
| Chantrey gift, no. I; paper label, no. 35; I.one | | Chantrey gift, no. I; paper label, no. 35; I.one |
| Poolc, no. 513. | | Poolc, no. 513. |
| Commissioned by the 4th earl of Aberdecn | | Commissioned by the 4th earl of Aberdecn |
| 1820, paid for 1826, completed 1834 (RA | | 1820, paid for 1826, completed 1834 (RA |
| I.edger, p. 120). Marble version dated 1823 | | I.edger, p. 120). Marble version dated 1823 |
| at Haddo House, Abcrdcen, companion with | | at Haddo House, Abcrdcen, companion with |
| one of I,ord Abcrdeen. | | one of I,ord Abcrdeen. |
| n | | n | @@PROCESS |
| 677. Dr John ABERNETHY | | 677. Dr John ABERNETHY |
| (1764-1831) | | (1764-1831) |
| 74,6 cms, (height including socle); 13 cms. | | 74,6 cms, (height including socle); 13 cms. |
| (height of soclc) | | (height of soclc) |
| Bust cleaned (to plaster) by Mohammed Saleh. The | | Bust cleaned (to plaster) by Mohammed Saleh. The |
| socle unclcaned. Name painted on socle. | | socle unclcaned. Name painted on socle. |
| Chantrey 5ft, no. 2; paper label, no. 93; I.ane | | Chantrey 5ft, no. 2; paper label, no. 93; I.ane |
| Poole, no. 514. | | Poole, no. 514. |
| Marble in the Royal College of surgeons, | | Marble in the Royal College of surgeons, |
| I.ondon, dated 1833. Commissioned 1831, | | I.ondon, dated 1833. Commissioned 1831, |
| completed 1834, paid for 1835 (RA Ijedger, | | completed 1834, paid for 1835 (RA Ijedger, |
| p. 234). Abemethy was an eminent surgeon, | | p. 234). Abemethy was an eminent surgeon, |
| anatomist, and physiologist. | | anatomist, and physiologist. |
| n | | n | @@PROCESS |
| 678. Dr James ANDERSON | | 678. Dr James ANDERSON |
| (d. 1809) | | (d. 1809) |
| 54.5 cms. (height including soclc); 9.5 cms. | | 54.5 cms. (height including soclc); 9.5 cms. |
| (height of socle) | | (height of socle) |
| Bust cleaned by Mohammed Saleh. The socle | | Bust cleaned by Mohammed Saleh. The socle |
| unclcaned. Cracks across upper chest and neck and | | unclcaned. Cracks across upper chest and neck and |
| rear of head. Chip missing from proper right nostril. | | rear of head. Chip missing from proper right nostril. |
| Name painted on socle. | | Name painted on socle. |
| Chantrey ctft, no. 4; paper label. no. 61; I.anc | | Chantrey ctft, no. 4; paper label. no. 61; I.anc |
| Poole, no. 516. | | Poole, no. 516. |
| The marble was presented by an unknown | | The marble was presented by an unknown |
| donor to the Museum of Modern Art in | | donor to the Museum of Modern Art in |
| Palazzo Pitti, Florence (Cat. sen. 703). | | Palazzo Pitti, Florence (Cat. sen. 703). |
| Commissioncd 1819, completed and paid for | | Commissioncd 1819, completed and paid for |
| 1820 (RA Ledger, p. 42). The portrait was | | 1820 (RA Ledger, p. 42). The portrait was |
| presumably posthumous. Anderson had been | | presumably posthumous. Anderson had been |
| Physician-General to the East India Company | | Physician-General to the East India Company |
| at Madras. | | at Madras. |
| n | | n | @@PROCESS |
| 226 | | 226 |
| n | | n | @@PROCESS |
| 679. Henry William Paget, | | 679. Henry William Paget, |
| lst marquess of ANGLESEY | | lst marquess of ANGLESEY |
| (1768-1854) | | (1768-1854) |
| 76.2 cms. (height including socle); 15.3 cms. | | 76.2 cms. (height including socle); 15.3 cms. |
| (height of socle) | | (height of socle) |
| Bust cleaned by Mohammed Saleh. The socle | | Bust cleaned by Mohammed Saleh. The socle |
| uncleaned. Chip missing from point of nose and | | uncleaned. Chip missing from point of nose and |
| from lower moulding of soclc. Name painted on | | from lower moulding of soclc. Name painted on |
| socle. | | socle. |
| Chantrey Sft, no. 6; Iame Poolc, no. 518. | | Chantrey Sft, no. 6; Iame Poolc, no. 518. |
| Marble at Plas Newydd, Antlesey, dated | | Marble at Plas Newydd, Antlesey, dated |
| 1816. Commissioned 1815, paid for 1816 | | 1816. Commissioned 1815, paid for 1816 |
| (RA Ledger, p. 41 ), exhibited Royal Academy | | (RA Ledger, p. 41 ), exhibited Royal Academy |
| 1816 (No. 952). | | 1816 (No. 952). |
| n | | n | @@PROCESS |
| 680. Sir Joseph BANKS Bt. | | 680. Sir Joseph BANKS Bt. |
| (1743-1820) | | (1743-1820) |
| 54.4 cms. (height) | | 54.4 cms. (height) |
| Bust cleaned by Mohammed Saleh. Both comers | | Bust cleaned by Mohammed Saleh. Both comers |
| of front of squared-off chest chipped. Scratches | | of front of squared-off chest chipped. Scratches |
| above proper right eyebrow. Points visible. Vestiges | | above proper right eyebrow. Points visible. Vestiges |
| of name painted on recessed band of chest. | | of name painted on recessed band of chest. |
| Chantrey aft, no. 8; I.ane Poolc, no. 520. | | Chantrey aft, no. 8; I.ane Poolc, no. 520. |
| Marble signed and dated 1819 in Royal | | Marble signed and dated 1819 in Royal |
| Society of Arts, I.ondon, presented by | | Society of Arts, I.ondon, presented by |
| sculptor 1819. Commissioned 1814, | | sculptor 1819. Commissioned 1814, |
| completed by 1819 (RA Ledger, p. 40); | | completed by 1819 (RA Ledger, p. 40); |
| exhibited at the Royal Academy 1816 (no. | | exhibited at the Royal Academy 1816 (no. |
| n | | n | @@PROCESS |
| 953, presumably as a plaster) and 1818 (no. | | 953, presumably as a plaster) and 1818 (no. |
| 1105, presumably as a marble). Potts, no.17. | | 1105, presumably as a marble). Potts, no.17. |
| For Banks see No. 623. Gunnis records a | | For Banks see No. 623. Gunnis records a |
| replica of the original marble at Petworth. | | replica of the original marble at Petworth. |
| n | | n | @@PROCESS |
| 681. Shute BARRINGTON, bishop | | 681. Shute BARRINGTON, bishop |
| of Durham ( 1734-1826) | | of Durham ( 1734-1826) |
| 56.I cms. (height) | | 56.I cms. (height) |
| Bust clcancd by Mohammed Saleh. Unusually heavy | | Bust clcancd by Mohammed Saleh. Unusually heavy |
| cast. Incised on the back in the model: `Bishop of | | cast. Incised on the back in the model: `Bishop of |
| Durhan/Aetat 89/-1822'. | | Durhan/Aetat 89/-1822'. |
| Chantrey Sft, no. 10; hanc Poole, no. 522. | | Chantrey Sft, no. 10; hanc Poole, no. 522. |
| Marble dated 1825 in Manchester City An | | Marble dated 1825 in Manchester City An |
| Gallery. See also No. 624. | | Gallery. See also No. 624. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 683 | | 683 |
| n | | n | @@PROCESS |
| 682. Colonel Seymour Thomas | | 682. Colonel Seymour Thomas |
| BATHURST ( 1795-1834) | | BATHURST ( 1795-1834) |
| 79.2 cms. (height including socle); 14.3 cms. | | 79.2 cms. (height including socle); 14.3 cms. |
| (height of soclc) | | (height of soclc) |
| Bust cleaned by Mohammcd Salch. Some shellac | | Bust cleaned by Mohammcd Salch. Some shellac |
| remains. I.ock of hair broken off to proper right. | | remains. I.ock of hair broken off to proper right. |
| Points on chest. Name painted on socle (this area | | Points on chest. Name painted on socle (this area |
| left uncleaned). | | left uncleaned). |
| Chantrey gift, no. 12; Ime Poolc, no. 524. | | Chantrey gift, no. 12; Ime Poolc, no. 524. |
| Marble bust in collection of Lord Bathurst, | | Marble bust in collection of Lord Bathurst, |
| Cirencester Park, dated 1836. Commissioned | | Cirencester Park, dated 1836. Commissioned |
| 1834, completed 1836, paid for 1837 (RA | | 1834, completed 1836, paid for 1837 (RA |
| I.cdger, p. 260). | | I.cdger, p. 260). |
| n | | n | @@PROCESS |
| 683. Edward BIRD RA | | 683. Edward BIRD RA |
| (1772-1819) | | (1772-1819) |
| 55.4 cms. (height including socle); 13 cms. | | 55.4 cms. (height including socle); 13 cms. |
| (height of soclc, including name tablet) | | (height of soclc, including name tablet) |
| Bust cleaned. Crack across chest repaired. Extcnsivc | | Bust cleaned. Crack across chest repaired. Extcnsivc |
| repairs to soclc. `E. BIRD. RA.' incised in model on | | repairs to soclc. `E. BIRD. RA.' incised in model on |
| lower edge of chest and `CIIANTREy/ | | lower edge of chest and `CIIANTREy/ |
| scuLFTOR/1816' incised in model on back. | | scuLFTOR/1816' incised in model on back. |
| Chantrey aft, no. 14; I.anc Poole, no. 526. | | Chantrey aft, no. 14; I.anc Poole, no. 526. |
| Exhibited at the Royal Academy 1817 (no. | | Exhibited at the Royal Academy 1817 (no. |
| 1061 ). A plaster cast is in the National | | 1061 ). A plaster cast is in the National |
| Portrait Gallery (no. 986), another in the City | | Portrait Gallery (no. 986), another in the City |
| Art Gallery and Museum, Bristol (according | | Art Gallery and Museum, Bristol (according |
| to Gunnis). Bird was a painter chiefly of genre | | to Gunnis). Bird was a painter chiefly of genre |
| subjects. | | subjects. |
| n | | n | @@PROCESS |
| 684. Sir William BLIZARD | | 684. Sir William BLIZARD |
| (1743-1835) | | (1743-1835) |
| 74.3 cms. (height including socle); 12,1 cms. | | 74.3 cms. (height including socle); 12,1 cms. |
| (height of socle) | | (height of socle) |
| Cleaned (to plaster) by Mohammed Saleh. Some | | Cleaned (to plaster) by Mohammed Saleh. Some |
| chellac and paint remains. Points visible. Small chip | | chellac and paint remains. Points visible. Small chip |
| missing from drapery. Scratch on brow. | | missing from drapery. Scratch on brow. |
| Chantrey aft, no. 15; I.one Poolc, no. 527. | | Chantrey aft, no. 15; I.one Poolc, no. 527. |
| Marble bust in the Royal College of surgeons, | | Marble bust in the Royal College of surgeons, |
| London, dated 1816. Commissioned 1815, | | London, dated 1816. Commissioned 1815, |
| exhibited Royal Academy 1816 (no. 960) | | exhibited Royal Academy 1816 (no. 960) |
| (Potts, no. 17). A second version | | (Potts, no. 17). A second version |
| commi§sioned 1820, completed 1825, for the | | commi§sioned 1820, completed 1825, for the |
| Ilondon Hospital (RA I.cdger, p.119). | | Ilondon Hospital (RA I.cdger, p.119). |
| Blizard was twice President of the Royal | | Blizard was twice President of the Royal |
| College of surgeons and was co-founder of | | College of surgeons and was co-founder of |
| the London Hospital Medical School. | | the London Hospital Medical School. |
| n | | n | @@PROCESS |
| 227 | | 227 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 685. Sir Francis BURDETT Bt. MP | | 685. Sir Francis BURDETT Bt. MP |
| (1770-1844) | | (1770-1844) |
| 69.3 cms. (height including socle); 12.7 cms. | | 69.3 cms. (height including socle); 12.7 cms. |
| (hcightofsocle) | | (hcightofsocle) |
| Cleaned by Mohammed Saleh. Superficial chip | | Cleaned by Mohammed Saleh. Superficial chip |
| missing from drapery to proper right. `Modelled | | missing from drapery to proper right. `Modelled |
| by/F. L. Chantrey/published Scpt.I.1810' incised | | by/F. L. Chantrey/published Scpt.I.1810' incised |
| in model on back. | | in model on back. |
| Chantrey rift, no. 18; hanc Poole, no. 530, | | Chantrey rift, no. 18; hanc Poole, no. 530, |
| Exhibited at the Royal Academy 1811 (no. | | Exhibited at the Royal Academy 1811 (no. |
| n | | n | @@PROCESS |
| 950). The copyright date suggests that the | | 950). The copyright date suggests that the |
| model was oriSnally made in preparation not | | model was oriSnally made in preparation not |
| for a marble but for an edition of plaster | | for a marble but for an edition of plaster |
| casts. Burdett was the Radical Member of | | casts. Burdett was the Radical Member of |
| Parliament for Westminster and in 1810, | | Parliament for Westminster and in 1810, |
| owing to his imprisonment in the Tower of | | owing to his imprisonment in the Tower of |
| h)ndon in the cause of Freedom of Speech, | | h)ndon in the cause of Freedom of Speech, |
| was a popular hero in I,ondon. Chantrey | | was a popular hero in I,ondon. Chantrey |
| seems also to have published casts of | | seems also to have published casts of |
| Burdett's radical ally Home Tooke (see No. | | Burdett's radical ally Home Tooke (see No. |
| n | | n | @@PROCESS |
| 773). | | 773). |
| n | | n | @@PROCESS |
| 686. `Mr. Justice BURTON' (dates | | 686. `Mr. Justice BURTON' (dates |
| unknown) | | unknown) |
| 54.8 cms. (height) | | 54.8 cms. (height) |
| Uncleaned. large chip missing from cdgc of proper | | Uncleaned. large chip missing from cdgc of proper |
| left shoulder and smaller one from chest to lower | | left shoulder and smaller one from chest to lower |
| right edge. Name painted to proper right of edge | | right edge. Name painted to proper right of edge |
| of chest (`Mr Justice Burton' ). | | of chest (`Mr Justice Burton' ). |
| Chantrey dft, no. 19; paper label, no. 10; I.one | | Chantrey dft, no. 19; paper label, no. 10; I.one |
| Poole, no. 531. | | Poole, no. 531. |
| Commissioned 1824, completed and paid for | | Commissioned 1824, completed and paid for |
| 1825 (RA Ledger, p. 172). lane Poole | | 1825 (RA Ledger, p. 172). lane Poole |
| conjectured that this was Charles Burton, | | conjectured that this was Charles Burton, |
| Justice of the King's Bench,1820. | | Justice of the King's Bench,1820. |
| n | | n | @@PROCESS |
| 687. John J. Pratt, lst Marquess | | 687. John J. Pratt, lst Marquess |
| CAMDEN (1759-1814) | | CAMDEN (1759-1814) |
| 76.1 cms. (height); 12.7 cms. (height of socle) | | 76.1 cms. (height); 12.7 cms. (height of socle) |
| Cleaned by Mohammed Saleh with exception of | | Cleaned by Mohammed Saleh with exception of |
| patch around inscription on socle. Some shellac | | patch around inscription on socle. Some shellac |
| remains. Points visible. Vestiges of na.me painted | | remains. Points visible. Vestiges of na.me painted |
| on soclc. | | on soclc. |
| Chantrcy Sft, no. 20; Ime Poolc, no. 532. | | Chantrcy Sft, no. 20; Ime Poolc, no. 532. |
| Marble bust in the National Portrait Gallery, | | Marble bust in the National Portrait Gallery, |
| dated 1835 (no. 5241). Commissioned | | dated 1835 (no. 5241). Commissioned |
| 1833; completed and paid for 1836 (RA | | 1833; completed and paid for 1836 (RA |
| Ledger, p. 259). Gunnis records a. bust at | | Ledger, p. 259). Gunnis records a. bust at |
| Bayham Abbey, Kent. | | Bayham Abbey, Kent. |
| n | | n | @@PROCESS |
| 688. George CANNING | | 688. George CANNING |
| (1770-1827) | | (1770-1827) |
| 72.4 cms. (height including soclc); 13.I cms. | | 72.4 cms. (height including soclc); 13.I cms. |
| (height of socle) | | (height of socle) |
| Cleaned by Mohammed Saleh. Some shellac | | Cleaned by Mohammed Saleh. Some shellac |
| remains. Fine cracks on the neck and chin where | | remains. Fine cracks on the neck and chin where |
| repaired. Points visible. | | repaired. Points visible. |
| Chantrey Sft, no. 21; I,are Poole, no. 533. | | Chantrey Sft, no. 21; I,are Poole, no. 533. |
| n | | n | @@PROCESS |
| 228 | | 228 |
| Marble bust in the National Portra.it Gallery, | | Marble bust in the National Portra.it Gallery, |
| I/)ndon, dated 1821 (no. 282), another at | | I/)ndon, dated 1821 (no. 282), another at |
| Chatsworth, dated 1826. The first of these | | Chatsworth, dated 1826. The first of these |
| commissioned 1818, completed and paid for | | commissioned 1818, completed and paid for |
| 1820 (RA Ledger, p. 88). Canning was a | | 1820 (RA Ledger, p. 88). Canning was a |
| leading Tory pohitician. See also Nos. 637, | | leading Tory pohitician. See also Nos. 637, |
| n | | n | @@PROCESS |
| 638. There is a variant with a different style | | 638. There is a variant with a different style |
| of drapery in the National Museum of wales, | | of drapery in the National Museum of wales, |
| Cardiff, dated 1819, on the Committee Stairs | | Cardiff, dated 1819, on the Committee Stairs |
| of the Palace ofwestminstcr and in the Fclton | | of the Palace ofwestminstcr and in the Fclton |
| Bequest at the National Gallery of victoria, | | Bequest at the National Gallery of victoria, |
| Melbourne. | | Melbourne. |
| n | | n | @@PROCESS |
| 689. Robert Stewart, Viscount | | 689. Robert Stewart, Viscount |
| CASTLEREAGH ( 1769-1822 ) | | CASTLEREAGH ( 1769-1822 ) |
| 75,2 cms. (height including socle); 12.7 cms. | | 75,2 cms. (height including socle); 12.7 cms. |
| (height of socle) | | (height of socle) |
| Cleaned by Mohammcd Salch. large chip missing | | Cleaned by Mohammcd Salch. large chip missing |
| fi.om front base of soclc. Scratches on the proper | | fi.om front base of soclc. Scratches on the proper |
| left shoulder. Points visible. | | left shoulder. Points visible. |
| Chantrey aft, no. 24; I.ane Poolc, no. 536. | | Chantrey aft, no. 24; I.ane Poolc, no. 536. |
| Marble busts in the National Portrait Gallery, | | Marble busts in the National Portrait Gallery, |
| London, dated 1822 (no. 687), Windsor | | London, dated 1822 (no. 687), Windsor |
| Castle, also dated 1822, the Paul Mellon | | Castle, also dated 1822, the Paul Mellon |
| Center, New Haven, dated 1828, and at | | Center, New Haven, dated 1828, and at |
| Powis Castle and Stratfield Saye ( both | | Powis Castle and Stratfield Saye ( both |
| undated and perhaps studio replicas). A | | undated and perhaps studio replicas). A |
| plaster cast at Cirencester Park. | | plaster cast at Cirencester Park. |
| Commissioned 1820, completed and paid for | | Commissioned 1820, completed and paid for |
| 1822 (RA I.cdgcr, p. 125). Ca§tlereagh | | 1822 (RA I.cdgcr, p. 125). Ca§tlereagh |
| served in successive Tory govemmcnts as | | served in successive Tory govemmcnts as |
| Chief Secretary for Ireland and then I.ord- | | Chief Secretary for Ireland and then I.ord- |
| Lieutenant of Ireland, as Secretary of war | | Lieutenant of Ireland, as Secretary of war |
| and then, 1812-22, as Foreign Secretary. | | and then, 1812-22, as Foreign Secretary. |
| n | | n | @@PROCESS |
| 690. Thomas Otway CAVE | | 690. Thomas Otway CAVE |
| (1797-1830) | | (1797-1830) |
| 77.5 cms. (height including socle); 13.6 cms. | | 77.5 cms. (height including socle); 13.6 cms. |
| (height of socle) | | (height of socle) |
| Cleaned and shellac renewed by Rachel Kenward. | | Cleaned and shellac renewed by Rachel Kenward. |
| Chip missing from collar to proper right. | | Chip missing from collar to proper right. |
| Nuncrous points visible. | | Nuncrous points visible. |
| Chantrey dft, no. 25; lane Poole, no. 537. | | Chantrey dft, no. 25; lane Poole, no. 537. |
| Marble at Stan ford Hall ( Leicestershire). | | Marble at Stan ford Hall ( Leicestershire). |
| Commissioncd 1831, completed and paid for | | Commissioncd 1831, completed and paid for |
| 1832 (RA Ledger, p. 235). The bust has | | 1832 (RA Ledger, p. 235). The bust has |
| previously been identified as a portrait of | | previously been identified as a portrait of |
| Robert Otway Cave. Thomas was a Major in | | Robert Otway Cave. Thomas was a Major in |
| the army. | | the army. |
| n | | n | @@PROCESS |
| 685 | | 685 |
| n | | n | @@PROCESS |
| 687 | | 687 |
| I,ch..,ij.:2,`,,,,,`` | | I,ch..,ij.:2,`,,,,,`` |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| i.,.,t#,'Fit\ | | i.,.,t#,'Fit\ |
| n | | n | @@PROCESS |
| 692 | | 692 |
| n | | n | @@PROCESS |
| 691. Sir Charles Mansfield CIARKE | | 691. Sir Charles Mansfield CIARKE |
| Bt. MD (1782-1857) | | Bt. MD (1782-1857) |
| 71.7 cms. (height including socle); 13.7 cms. | | 71.7 cms. (height including socle); 13.7 cms. |
| (height of soclc) | | (height of soclc) |
| Clcancd by Moha.mmed Salch. Points visible. | | Clcancd by Moha.mmed Salch. Points visible. |
| Chantrey tlft, no. 26; Idnc Poolc, no. 538. | | Chantrey tlft, no. 26; Idnc Poolc, no. 538. |
| Marble, dated 1840, lot 320, Sothcby's, | | Marble, dated 1840, lot 320, Sothcby's, |
| London, 12 December 1985. Commenced | | London, 12 December 1985. Commenced |
| 1833, completed 1840 (RA Ledger, p. 262), | | 1833, completed 1840 (RA Ledger, p. 262), |
| exhibited at Royal Academy 1840 (no. 1199). | | exhibited at Royal Academy 1840 (no. 1199). |
| The marble bust was presented by Chantrey | | The marble bust was presented by Chantrey |
| to the sitter `as a mark of estecm', perhaps | | to the sitter `as a mark of estecm', perhaps |
| also in gratitude for medical advice. | | also in gratitude for medical advice. |
| n | | n | @@PROCESS |
| 692. Dr Henry CLINE | | 692. Dr Henry CLINE |
| (1750-1827) | | (1750-1827) |
| 73.7 cms. (height, including socle); 12.6 cms. | | 73.7 cms. (height, including socle); 12.6 cms. |
| (heightofsoclc) | | (heightofsoclc) |
| Cleaned by Mohammcd Salch.. Some traces of | | Cleaned by Mohammcd Salch.. Some traces of |
| shellac remain in face and hair. Vestidal scans, | | shellac remain in face and hair. Vestidal scans, |
| most evident in the hair. Made from the complctcd | | most evident in the hair. Made from the complctcd |
| marble rather than the origival clay model. The cast | | marble rather than the origival clay model. The cast |
| rcproduccs the chiselled text on the colunnar | | rcproduccs the chiselled text on the colunnar |
| support behind the chest in the marble `HENRy | | support behind the chest in the marble `HENRy |
| CLINE/F CHANTREY SC./1825'. | | CLINE/F CHANTREY SC./1825'. |
| Chantrey dft, no. 27; I.one Poole, no. 539. | | Chantrey dft, no. 27; I.one Poole, no. 539. |
| Marble in the Royal College of surgeons | | Marble in the Royal College of surgeons |
| dated 1825. Commjssioned 1824, completed | | dated 1825. Commjssioned 1824, completed |
| by 1826, paid for 1827 (RA Ifdger, p. 165). | | by 1826, paid for 1827 (RA Ifdger, p. 165). |
| A bust of Cline, possibly from the same | | A bust of Cline, possibly from the same |
| model, exhibited Royal Academy 1813 (no. | | model, exhibited Royal Academy 1813 (no. |
| n | | n | @@PROCESS |
| 934). Cline was Master of the College of | | 934). Cline was Master of the College of |
| Surgeons in 1815 and President in 1823. An | | Surgeons in 1815 and President in 1823. An |
| earlier bust of the same sitter, dated 1813, is | | earlier bust of the same sitter, dated 1813, is |
| in St Thomas's Hospital. | | in St Thomas's Hospital. |
| n | | n | @@PROCESS |
| 693. Admiral Sir Edward | | 693. Admiral Sir Edward |
| CODRINGTON ( 1770-1851) | | CODRINGTON ( 1770-1851) |
| 71.2 cms. (height, including socle); 13.8 cms. | | 71.2 cms. (height, including socle); 13.8 cms. |
| (heightofsorlc) | | (heightofsorlc) |
| Unclcancd. Flaking extensively. Name painted on | | Unclcancd. Flaking extensively. Name painted on |
| socle. | | socle. |
| Chantrey Sft, no. 28; I.anc Poolc, no. 540. | | Chantrey Sft, no. 28; I.anc Poolc, no. 540. |
| Commissioned 1817 (RA I.cdgcr, p. 56), | | Commissioned 1817 (RA I.cdgcr, p. 56), |
| exhibited Royal Acadcny 1819 (no.1221). | | exhibited Royal Acadcny 1819 (no.1221). |
| Codrington was a notable naval commander | | Codrington was a notable naval commander |
| during the Napoleonic Wars, made | | during the Napoleonic Wars, made |
| Commander-in-Chief of the Mediterranean | | Commander-in-Chief of the Mediterranean |
| Fleet in 1826 during the war of Greek | | Fleet in 1826 during the war of Greek |
| Independence but was recalled in | | Independence but was recalled in |
| controversial circumstances in 1828, made | | controversial circumstances in 1828, made |
| Admiral of the Blue in 1837. | | Admiral of the Blue in 1837. |
| n | | n | @@PROCESS |
| 229 | | 229 |
| AI'PENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | AI'PENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 695 | | 695 |
| n | | n | @@PROCESS |
| 230 | | 230 |
| n | | n | @@PROCESS |
| 694. Henry Thomas | | 694. Henry Thomas |
| COLEBROOKE ( 1765-1837) | | COLEBROOKE ( 1765-1837) |
| 71.3 cms. (height, including socle); 13.4 cms. | | 71.3 cms. (height, including socle); 13.4 cms. |
| (height of socle) | | (height of socle) |
| Cleaned by Mohammed Saleh. Rcpalrcd crack | | Cleaned by Mohammed Saleh. Rcpalrcd crack |
| across the proper left shoulder. Crack in the back | | across the proper left shoulder. Crack in the back |
| of the soclc. Points visible. | | of the soclc. Points visible. |
| Chantrey dft, no. 29; I.ane Poole, no. 541. | | Chantrey dft, no. 29; I.ane Poole, no. 541. |
| Marble, dated 1820, in the India Office, | | Marble, dated 1820, in the India Office, |
| London (according to Gunnis). | | London (according to Gunnis). |
| Commissioned 1819, completed 1820, paid | | Commissioned 1819, completed 1820, paid |
| for 1823 (RA I.edger, p. 98). Colebrook was | | for 1823 (RA I.edger, p. 98). Colebrook was |
| President of the Court of Appeal at Calcutta | | President of the Court of Appeal at Calcutta |
| and a noted scholar of Sanskrit. | | and a noted scholar of Sanskrit. |
| n | | n | @@PROCESS |
| 695. Henry COWPER ( 1758-1840) | | 695. Henry COWPER ( 1758-1840) |
| 70.4 cms. (height, including soclc); 14.3 cms. | | 70.4 cms. (height, including soclc); 14.3 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleancd. Slightly flaking. Small perforation in | | Uncleancd. Slightly flaking. Small perforation in |
| rear of soclc. Name painted on soclc. | | rear of soclc. Name painted on soclc. |
| Chantrcy rift, no. 31; Ijmc Poolc, no. 543. | | Chantrcy rift, no. 31; Ijmc Poolc, no. 543. |
| Marble in the Victoria and Albert Museum. | | Marble in the Victoria and Albert Museum. |
| Commissioned 1823, completed and paid for | | Commissioned 1823, completed and paid for |
| 1827 (RA Ledger, p. 165). Cowpcr wias Clerk | | 1827 (RA Ledger, p. 165). Cowpcr wias Clerk |
| of the House of I.ords. | | of the House of I.ords. |
| n | | n | @@PROCESS |
| 696. John Philpot CURRAN | | 696. John Philpot CURRAN |
| (1750-1817) | | (1750-1817) |
| 56.7 cms. (height, including socle); 11.7 cms. | | 56.7 cms. (height, including socle); 11.7 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleancd. Socle repaired and refixed by Kathlecn | | Uncleancd. Socle repaired and refixed by Kathlecn |
| Kimber and flakcd areas touched in by Christine | | Kimber and flakcd areas touched in by Christine |
| Gormley in Scptembcr 1989. | | Gormley in Scptembcr 1989. |
| n | | n | @@PROCESS |
| 697 Chantrey Sft, no. 32; former paper label, no. 42; | | 697 Chantrey Sft, no. 32; former paper label, no. 42; |
| Lenc Poole, no. 544. | | Lenc Poole, no. 544. |
| Exhibited Royal Academy 1812 (no. 898). | | Exhibited Royal Academy 1812 (no. 898). |
| Curran was Master of the Rolls in Ireland. | | Curran was Master of the Rolls in Ireland. |
| Lent to the National Trust, Belton House, | | Lent to the National Trust, Belton House, |
| Iincolrishire, December 1989. | | Iincolrishire, December 1989. |
| n | | n | @@PROCESS |
| 697. Sir William CURTIS Bt. | | 697. Sir William CURTIS Bt. |
| (1752-1829) | | (1752-1829) |
| 77.8 cms. (height, including soclc); 13.8 cms. | | 77.8 cms. (height, including soclc); 13.8 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleancd. Flaking in a small area of proper left | | Uncleancd. Flaking in a small area of proper left |
| temple. Name painted on soclc. | | temple. Name painted on soclc. |
| Chantrey dft, no. 33; paper label, no. 44; I.anc | | Chantrey dft, no. 33; paper label, no. 44; I.anc |
| Poolc, no. 545. | | Poolc, no. 545. |
| Commissioncd 1827, paid for 1828, | | Commissioncd 1827, paid for 1828, |
| completed 1829 (RA Ledger, p. 189). | | completed 1829 (RA Ledger, p. 189). |
| Exhibited at the Royal Academy 1828 (no. | | Exhibited at the Royal Academy 1828 (no. |
| 1170). Curtis was I,ord Mayor of I.ondon. | | 1170). Curtis was I,ord Mayor of I.ondon. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 698. John DALTON DCL | | 698. John DALTON DCL |
| (1766-1844) | | (1766-1844) |
| 61.2 cms. (height, including soclc); 11.9 cms. | | 61.2 cms. (height, including soclc); 11.9 cms. |
| (height of socle) | | (height of socle) |
| Unclcaned. Crack between soclc and bust rcpalrcd. | | Unclcaned. Crack between soclc and bust rcpalrcd. |
| Chip on proper right shoulder. Small chips on sides | | Chip on proper right shoulder. Small chips on sides |
| of chest, also on proper left car. Minor flaking and | | of chest, also on proper left car. Minor flaking and |
| chips touched in by Christine Gormley in | | chips touched in by Christine Gormley in |
| Septcmbcr 1989. Name painted on soclc (`) | | Septcmbcr 1989. Name painted on soclc (`) |
| DALTON D.C.L.'). `DR. DALTON' is incised in the | | DALTON D.C.L.'). `DR. DALTON' is incised in the |
| model in the lower cdgc of the chest and `Chantrey. | | model in the lower cdgc of the chest and `Chantrey. |
| 1834' is incised in the model on the back. | | 1834' is incised in the model on the back. |
| Chantrey Sft, no. 34 former paper label, no. 24; | | Chantrey Sft, no. 34 former paper label, no. 24; |
| I.are Poolc, no. 546. | | I.are Poolc, no. 546. |
| A version in ivory 22 cms. high signed | | A version in ivory 22 cms. high signed |
| `Chantrey Fect. Chevcrton SC' was lot 77, | | `Chantrey Fect. Chevcrton SC' was lot 77, |
| Phillip's, Ilondon, 26 November 1985. For | | Phillip's, Ilondon, 26 November 1985. For |
| Dalton see No. 631. | | Dalton see No. 631. |
| Lent to the National Trust, Belton House, | | Lent to the National Trust, Belton House, |
| Lincolnshire, December 1989. | | Lincolnshire, December 1989. |
| n | | n | @@PROCESS |
| 699. Admiral Sir John Thomas | | 699. Admiral Sir John Thomas |
| DUCKWORTH Bt. (1748-1817) | | DUCKWORTH Bt. (1748-1817) |
| 69.8 cms. (height, including socle); 11.8 cms, | | 69.8 cms. (height, including socle); 11.8 cms, |
| (heightofsocle) | | (heightofsocle) |
| Uncleaned. slight flaking. Small chip on the back | | Uncleaned. slight flaking. Small chip on the back |
| of the base, and on the front ofthc upper moulding | | of the base, and on the front ofthc upper moulding |
| of the socle. Name palntcd on soclc. | | of the socle. Name palntcd on soclc. |
| Chantrey Sft, no. 38; lane Poole, no. 550. | | Chantrey Sft, no. 38; lane Poole, no. 550. |
| Marble forms part of monument to Admiral | | Marble forms part of monument to Admiral |
| Duckworth in Topsham Church, Devon, but | | Duckworth in Topsham Church, Devon, but |
| adjusted awkwardly to term format, | | adjusted awkwardly to term format, |
| surrounded with a clumsy trophy, and | | surrounded with a clumsy trophy, and |
| surmounting a lively relief of a sea battle. | | surmounting a lively relief of a sea battle. |
| Commissioned 1817, completed and paid for | | Commissioned 1817, completed and paid for |
| 1820 (RA I.cdger, p. 77). A bust of | | 1820 (RA I.cdger, p. 77). A bust of |
| Duckworth was exhibited by Chantrey at the | | Duckworth was exhibited by Chantrey at the |
| Royal Academy in 1811 (no. 939). It was | | Royal Academy in 1811 (no. 939). It was |
| presumably the one of George Duckworth | | presumably the one of George Duckworth |
| employed on his monument in the same | | employed on his monument in the same |
| church. | | church. |
| n | | n | @@PROCESS |
| 700. Robert DUNDAS of Arniston | | 700. Robert DUNDAS of Arniston |
| (1758-1819) | | (1758-1819) |
| 65,8 cms. (height including socle); 10.8 cms. | | 65,8 cms. (height including socle); 10.8 cms. |
| (height of socle) | | (height of socle) |
| Uncleaned. Some flaking to drapery and nose and | | Uncleaned. Some flaking to drapery and nose and |
| missing chip from the front of the socle retouched | | missing chip from the front of the socle retouched |
| by Christine Gormley, September 1989. Name | | by Christine Gormley, September 1989. Name |
| painted on socle (`DUNDAS, LD. CF BARON OF | | painted on socle (`DUNDAS, LD. CF BARON OF |
| SCOTIAND'). | | SCOTIAND'). |
| Chantrcy gift, no. 39; hanc Poole, no. 551. | | Chantrcy gift, no. 39; hanc Poole, no. 551. |
| Marble in Arniston House, Midlothian, dated | | Marble in Arniston House, Midlothian, dated |
| 1817. Commissioned 1817, completed | | 1817. Commissioned 1817, completed |
| 1818, paid for 1819 (RA Ledger, p. 43), | | 1818, paid for 1819 (RA Ledger, p. 43), |
| cxhibitcd Royal Academy 1817 (no.1051). | | cxhibitcd Royal Academy 1817 (no.1051). |
| The work exhibited may have been this plaster | | The work exhibited may have been this plaster |
| and a commission for the marble only | | and a commission for the marble only |
| received later in the same year. Dundas was | | received later in the same year. Dundas was |
| Lord Chief Baron of the Exchequer of | | Lord Chief Baron of the Exchequer of |
| Scotland. See also No. 634. | | Scotland. See also No. 634. |
| I.ent to the National Trust, Belton House, | | I.ent to the National Trust, Belton House, |
| Lincolnshire, December 1989. | | Lincolnshire, December 1989. |
| n | | n | @@PROCESS |
| 701. Probably Thomas Dundas, | | 701. Probably Thomas Dundas, |
| lst Baron DUNDAS of Aske | | lst Baron DUNDAS of Aske |
| ( 1741-1820) | | ( 1741-1820) |
| 68.I cms. (height including socle); 13.3 cms. | | 68.I cms. (height including socle); 13.3 cms. |
| (height of soclc) | | (height of soclc) |
| Unclcaned. Extensive flaking. Small chip on front | | Unclcaned. Extensive flaking. Small chip on front |
| base of soclc. Touched in by Christine Gormley, | | base of soclc. Touched in by Christine Gormley, |
| September 1989. Name painted on socle (`LD | | September 1989. Name painted on socle (`LD |
| DUNDAS'). | | DUNDAS'). |
| Chantrey 5ft, no. 41; IAnc Poolc, no. 553. | | Chantrey 5ft, no. 41; IAnc Poolc, no. 553. |
| Marble at Aske Park, RIchmond, dated 1820. | | Marble at Aske Park, RIchmond, dated 1820. |
| Another at Wcntworth Woodhouse, | | Another at Wcntworth Woodhouse, |
| Yorkshire, dated 1824. Commissioncd 1819, | | Yorkshire, dated 1824. Commissioncd 1819, |
| paid for 1820 (RA I.cdgcr, p. 112). | | paid for 1820 (RA I.cdgcr, p. 112). |
| I.cnt to the National Trust, Belton House, | | I.cnt to the National Trust, Belton House, |
| Lincolnshire, December 1989. | | Lincolnshire, December 1989. |
| n | | n | @@PROCESS |
| 702. James DUNLOP (d.1832.>) | | 702. James DUNLOP (d.1832.>) |
| 72.7 cms. (height including socle); 14.2 cms. | | 72.7 cms. (height including socle); 14.2 cms. |
| (height of socle) | | (height of socle) |
| UncleaLned. Extensive flaking, chiefly to head and | | UncleaLned. Extensive flaking, chiefly to head and |
| neck. Name painted on socle. | | neck. Name painted on socle. |
| Chantrey Sft, no. 42; paper label, no. 50; I.ane | | Chantrey Sft, no. 42; paper label, no. 50; I.ane |
| Poolc, no. 554. | | Poolc, no. 554. |
| Commissioned 1836, completed 1840, paid | | Commissioned 1836, completed 1840, paid |
| for 1841 (RA Ledger, p. 281), exhibited | | for 1841 (RA Ledger, p. 281), exhibited |
| Royal Academy 1841 (no. 1327). I,ane Poole | | Royal Academy 1841 (no. 1327). I,ane Poole |
| identified the sitter as James Dunlop who | | identified the sitter as James Dunlop who |
| died in the autumn of 1841 but the bust was | | died in the autumn of 1841 but the bust was |
| described as posthumous when exhibited | | described as posthumous when exhibited |
| earlier that year at the Royal Academy. It | | earlier that year at the Royal Academy. It |
| might be a portrait of Lieutenant-General | | might be a portrait of Lieutenant-General |
| James Dunlop who died in 1832 although, if | | James Dunlop who died in 1832 although, if |
| so, it is surprising that his rank is not given | | so, it is surprising that his rank is not given |
| in either the ledger or the Academy catalogue. | | in either the ledger or the Academy catalogue. |
| n | | n | @@PROCESS |
| 703. Mr EGERTON (d. c.1828) | | 703. Mr EGERTON (d. c.1828) |
| 76.3 cms. (height, including socle); 13.5 cms. | | 76.3 cms. (height, including socle); 13.5 cms. |
| (height of socle) | | (height of socle) |
| Uncleancd. Some flaking. A break between soclc | | Uncleancd. Some flaking. A break between soclc |
| and bust repaired. Name painted on socle (`Mr | | and bust repaired. Name painted on socle (`Mr |
| Egerton'). | | Egerton'). |
| Chantrey dft, no. 44; I.anc Poole, no. 556. | | Chantrey dft, no. 44; I.anc Poole, no. 556. |
| Tentatively identified as a bust of Charles | | Tentatively identified as a bust of Charles |
| Chandler Egerton (1798-1885), surgeon to | | Chandler Egerton (1798-1885), surgeon to |
| the Calcutta Hospital, by lane Poole, but he | | the Calcutta Hospital, by lane Poole, but he |
| looks like an older man. No commission for | | looks like an older man. No commission for |
| a bust of any Egerton is recorded in the RA | | a bust of any Egerton is recorded in the RA |
| n | | n | @@PROCESS |
| 231 | | 231 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO'OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO'OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 232 | | 232 |
| n | | n | @@PROCESS |
| 704 | | 704 |
| Ledger but there is a monument to a Mr | | Ledger but there is a monument to a Mr |
| Egerton commissioned in 1828 and | | Egerton commissioned in 1828 and |
| completed in the following year which may | | completed in the following year which may |
| well have incorporated a bust. | | well have incorporated a bust. |
| n | | n | @@PROCESS |
| 704. George O'Brien Wyndham, 3rd | | 704. George O'Brien Wyndham, 3rd |
| carl of EGREMONT ( 1751-1837) | | carl of EGREMONT ( 1751-1837) |
| 75.4 cms. (height, including socLe); 13.I cms. | | 75.4 cms. (height, including socLe); 13.I cms. |
| (height of socle) | | (height of socle) |
| Unclcaned. Flaking on head. The shoulder and | | Unclcaned. Flaking on head. The shoulder and |
| chest to proper right broken off and lost. Name | | chest to proper right broken off and lost. Name |
| painted on soclc. | | painted on soclc. |
| Chantrey dft, no. 45; Idnc Poole, no. 557. | | Chantrey dft, no. 45; Idnc Poole, no. 557. |
| Commissioned May 1829, completed and | | Commissioned May 1829, completed and |
| paid for 1831. Egremont was among the | | paid for 1831. Egremont was among the |
| leading collectors and patrons of modern | | leading collectors and patrons of modern |
| British art. | | British art. |
| n | | n | @@PROCESS |
| 705. Mountstuart ELPHINSTONE | | 705. Mountstuart ELPHINSTONE |
| (1779-1859) | | (1779-1859) |
| 62.3 cms. (height, including socle); 12.3 cms. | | 62.3 cms. (height, including socle); 12.3 cms. |
| (height of socle) | | (height of socle) |
| Uncleaned. Very little flaking. large chip missing | | Uncleaned. Very little flaking. large chip missing |
| from base of soclc to proper right. Touched in by | | from base of soclc to proper right. Touched in by |
| Kathlecn EGmbcr September 1989. Name painted | | Kathlecn EGmbcr September 1989. Name painted |
| on soclc. | | on soclc. |
| Chantrey Sft, no. 46; Ijanc Poole, no. 558. For | | Chantrey Sft, no. 46; Ijanc Poole, no. 558. For |
| Elphinstonc see No. 636. | | Elphinstonc see No. 636. |
| Lent to the National Trust, Belton House, | | Lent to the National Trust, Belton House, |
| Lincolnshire, December 1989. | | Lincolnshire, December 1989. |
| n | | n | @@PROCESS |
| 706. Sir Henry Charles | | 706. Sir Henry Charles |
| ENGLEFIELD FSA, FBS | | ENGLEFIELD FSA, FBS |
| (1752-1822) | | (1752-1822) |
| 52 cms. (height) | | 52 cms. (height) |
| Cleaned and repaired and shellac rcnewcd by Rachel | | Cleaned and repaired and shellac rcnewcd by Rachel |
| Kcnward. A hairline crack runs from the proper left | | Kcnward. A hairline crack runs from the proper left |
| shoulder to the proper right collarbone. Points | | shoulder to the proper right collarbone. Points |
| visible, mainly on the head. `CHANTREy/ | | visible, mainly on the head. `CHANTREy/ |
| scuLPTOR/1818' incised in the model to proper | | scuLPTOR/1818' incised in the model to proper |
| left side of hcrm. The sittcr's monogram (HC and | | left side of hcrm. The sittcr's monogram (HC and |
| E interlaced) is incised in the model in the lower, | | E interlaced) is incised in the model in the lower, |
| chamfcred, portion of the draped front of the chest. | | chamfcred, portion of the draped front of the chest. |
| Chantrey aft, no. 48; lane Poole, no. 560. | | Chantrey aft, no. 48; lane Poole, no. 560. |
| Marble in the Cleveland Museum of Art, | | Marble in the Cleveland Museum of Art, |
| Ohio (78.22), is slightly larger and has a more | | Ohio (78.22), is slightly larger and has a more |
| distinctly chamfcred treatment to the base of | | distinctly chamfcred treatment to the base of |
| the chest. Commissioncd 1818, completed | | the chest. Commissioncd 1818, completed |
| 1820 (RA Ijedger, p. 71) but the marble | | 1820 (RA Ijedger, p. 71) but the marble |
| dated 1818. Englcfield was an antiquary and | | dated 1818. Englcfield was an antiquary and |
| collector. | | collector. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 707. Sir Charles I.ong, I.ord | | 707. Sir Charles I.ong, I.ord |
| FARNBOROUGH ( 1760-1838) | | FARNBOROUGH ( 1760-1838) |
| 74.6 cms. (height, including soclc); 13.4 cms. | | 74.6 cms. (height, including soclc); 13.4 cms. |
| (height of socle) | | (height of socle) |
| Cleaned by Rachel Kcnward. Points visible. A | | Cleaned by Rachel Kcnward. Points visible. A |
| vertical crack, from the proper right shoulder into | | vertical crack, from the proper right shoulder into |
| the neck. Name formerly painted on soclc. | | the neck. Name formerly painted on soclc. |
| Chantrey 5ft, no. 49; I.ane Poolc, no. 561. | | Chantrey 5ft, no. 49; I.ane Poolc, no. 561. |
| Marble, dated 1820, in the National Portrait | | Marble, dated 1820, in the National Portrait |
| Gallery (2090). A repetition in the National | | Gallery (2090). A repetition in the National |
| Gallery dated 1836, given by a descendant of | | Gallery dated 1836, given by a descendant of |
| I,ong. RA Ledger records the latter (p. | | I,ong. RA Ledger records the latter (p. |
| n | | n | @@PROCESS |
| 258 )-ommissioncd 1833, completed | | 258 )-ommissioncd 1833, completed |
| 1834, paid for 1842. Farnborough was | | 1834, paid for 1842. Farnborough was |
| Paymaster General, a notable connoisseur and | | Paymaster General, a notable connoisseur and |
| collector who became art adviser to Gcorge | | collector who became art adviser to Gcorge |
| IV and a trustee of both the British Museum | | IV and a trustee of both the British Museum |
| and National Gallery. | | and National Gallery. |
| n | | n | @@PROCESS |
| 708. John FULLER MP | | 708. John FULLER MP |
| ( 1757-1834) | | ( 1757-1834) |
| 74.9 cms. (height, including scrolled plinth); | | 74.9 cms. (height, including scrolled plinth); |
| 13,3 cms. (height of scrolJcd plinth) | | 13,3 cms. (height of scrolJcd plinth) |
| Uncleaned. Slightly flaking on the drapery. Name | | Uncleaned. Slightly flaking on the drapery. Name |
| painted on lower corner of scrolled plinth to proper | | painted on lower corner of scrolled plinth to proper |
| left (`j. FULLER Esq. M.P.'). | | left (`j. FULLER Esq. M.P.'). |
| Chantrey aft, no. 51; paper label, no. 28; I.ane | | Chantrey aft, no. 51; paper label, no. 28; I.ane |
| Poole, no. 563. | | Poole, no. 563. |
| Marble serves as part of the monument in | | Marble serves as part of the monument in |
| Brightling Parish Church, Sussex (the frame | | Brightling Parish Church, Sussex (the frame |
| by H. Rouw). A bust of Fuller was exhibited | | by H. Rouw). A bust of Fuller was exhibited |
| at the Royal Aca.deny in 1820 (no. 1048). | | at the Royal Aca.deny in 1820 (no. 1048). |
| The bust of him commissioned 1834, | | The bust of him commissioned 1834, |
| complcted and paid for 1835 (RA Ledger, p. | | complcted and paid for 1835 (RA Ledger, p. |
| n | | n | @@PROCESS |
| 263), was presumably a repetition. I.are | | 263), was presumably a repetition. I.are |
| Poole wrongly identified the sitter as a Fuller | | Poole wrongly identified the sitter as a Fuller |
| who died in 1839. The unusual scrolled plinth | | who died in 1839. The unusual scrolled plinth |
| must be connected with its sepulchral setting | | must be connected with its sepulchral setting |
| for which, however, it was not adopted. Fuller | | for which, however, it was not adopted. Fuller |
| was known as `Mad Jack Fuller'. He was an | | was known as `Mad Jack Fuller'. He was an |
| eccentric, a collector and a builder of follies. | | eccentric, a collector and a builder of follies. |
| n | | n | @@PROCESS |
| 709. King GEORGE IV | | 709. King GEORGE IV |
| (1762-1830) | | (1762-1830) |
| 82.8 cms. (height, including socle); 14.1 cms. | | 82.8 cms. (height, including socle); 14.1 cms. |
| (height of socLe) | | (height of socLe) |
| Coated with whitewash, now very grubby. | | Coated with whitewash, now very grubby. |
| Chantrey aft, no. 53; I.one Poole, no. 565. | | Chantrey aft, no. 53; I.one Poole, no. 565. |
| Marble versions are at Chatsworth (dated | | Marble versions are at Chatsworth (dated |
| 1822), the Royal College of surgeons (dated | | 1822), the Royal College of surgeons (dated |
| 1823), and elsewhere. The earliest version | | 1823), and elsewhere. The earliest version |
| seems to have been made for the king himself | | seems to have been made for the king himself |
| in 1821-2 may be that in the Royal Pavilion, | | in 1821-2 may be that in the Royal Pavilion, |
| Brighton. One in Windsor Castle is dated | | Brighton. One in Windsor Castle is dated |
| 1828 and one in Buckingham Palace is dated | | 1828 and one in Buckingham Palace is dated |
| 1837. One version was cxhibitcd at the Royal | | 1837. One version was cxhibitcd at the Royal |
| Academy in 1822 (no. 988). | | Academy in 1822 (no. 988). |
| AI'I'ENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | AI'I'ENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 234 | | 234 |
| n | | n | @@PROCESS |
| 710. Sir Henry HALFORD Bt. MD | | 710. Sir Henry HALFORD Bt. MD |
| (1766-1844) | | (1766-1844) |
| 71.5 cms. (height, including socle); 13.7 cms. | | 71.5 cms. (height, including socle); 13.7 cms. |
| (hcightofsor:le) | | (hcightofsor:le) |
| Unclcaned. Slight flaking. Chipped around back at | | Unclcaned. Slight flaking. Chipped around back at |
| junction of socle and bust which is repaired but | | junction of socle and bust which is repaired but |
| loose. Name painted on socle. | | loose. Name painted on socle. |
| Chantrey tift, no. 57; I.anc Poole, no. 569. | | Chantrey tift, no. 57; I.anc Poole, no. 569. |
| Marble, dated 1825, in the Royal College of | | Marble, dated 1825, in the Royal College of |
| Physicians, Ijondon. Commissioned 1824, | | Physicians, Ijondon. Commissioned 1824, |
| completed and paid for 1825 (RA Ledger, p. | | completed and paid for 1825 (RA Ledger, p. |
| n | | n | @@PROCESS |
| 169). Halford was Physician to the Middlesex | | 169). Halford was Physician to the Middlesex |
| Hospital, Physician extraordinary to king | | Hospital, Physician extraordinary to king |
| George Ill, and Prcsidcnt of the Royal | | George Ill, and Prcsidcnt of the Royal |
| College of Physicians. He was the most | | College of Physicians. He was the most |
| eminent member of his profession in I.ondon | | eminent member of his profession in I.ondon |
| in the early years of the nineteenth century. | | in the early years of the nineteenth century. |
| n | | n | @@PROCESS |
| 711. Sir chdrew Snape IIAMOND | | 711. Sir chdrew Snape IIAMOND |
| Bt. (1738-1828) | | Bt. (1738-1828) |
| 62.5 cms. (height including socle); 10.6 cms. | | 62.5 cms. (height including socle); 10.6 cms. |
| (height of soclc ) | | (height of soclc ) |
| Unclcancd. Some flaking on head and neck. | | Unclcancd. Some flaking on head and neck. |
| Touched in by Kathlcen Kimber. September 1989. | | Touched in by Kathlcen Kimber. September 1989. |
| Name painted on socle. | | Name painted on socle. |
| Chantrey dft, no. 58; former paper label, no. 123; | | Chantrey dft, no. 58; former paper label, no. 123; |
| I.ane Poole, no. 570. | | I.ane Poole, no. 570. |
| Marble dated 1820 noted by Gunnis as in | | Marble dated 1820 noted by Gunnis as in |
| `private possession'. Commissioned 1818, | | `private possession'. Commissioned 1818, |
| completed 1820 (RA Ledger, p. 82), and | | completed 1820 (RA Ledger, p. 82), and |
| exhibited Royal Academy 1821 (no.1139). | | exhibited Royal Academy 1821 (no.1139). |
| Hamond was Comptroller of the Navy. | | Hamond was Comptroller of the Navy. |
| Lent in December 1989 to the National | | Lent in December 1989 to the National |
| Trust, Belton House, Lincolnshire. | | Trust, Belton House, Lincolnshire. |
| n | | n | @@PROCESS |
| 712. Revd William Vernon | | 712. Revd William Vernon |
| HARCOURT FRS (1789-1871) | | HARCOURT FRS (1789-1871) |
| 80.0 cms. (height, including soclc); 13.2 cms. | | 80.0 cms. (height, including soclc); 13.2 cms. |
| (height of socle) | | (height of socle) |
| Unclcaned. A large but superficial chip missing from | | Unclcaned. A large but superficial chip missing from |
| the proper right shoulder. Name painted on socle. | | the proper right shoulder. Name painted on socle. |
| Chantrey ctft, no, 59; paper label, no. 89; I.ane | | Chantrey ctft, no, 59; paper label, no. 89; I.ane |
| Poole, no. 571. | | Poole, no. 571. |
| Marble, formerly Philosophical Society, York, | | Marble, formerly Philosophical Society, York, |
| now City Art Gallery, York, d'ated 1832. | | now City Art Gallery, York, d'ated 1832. |
| Commissioned 1831, completed and paid for | | Commissioned 1831, completed and paid for |
| 1833 (RA Ledger, p. 242). Harcourt, a | | 1833 (RA Ledger, p. 242). Harcourt, a |
| n | | n | @@PROCESS |
| 711 philanthropist, educationalist, and scientist, | | 711 philanthropist, educationalist, and scientist, |
| was the first president and virtual founder of | | was the first president and virtual founder of |
| the British Association. A miniature version | | the British Association. A miniature version |
| of the bust (marble, 21.8 cms. high) is in a | | of the bust (marble, 21.8 cms. high) is in a |
| private collection (photograph in the Conway | | private collection (photograph in the Conway |
| Library). | | Library). |
| n | | n | @@PROCESS |
| 713. Charles IIATCHETT FBS | | 713. Charles IIATCHETT FBS |
| (1765.>-1847) | | (1765.>-1847) |
| 61.7 cms. (height) | | 61.7 cms. (height) |
| Uncleaned. A large chip is missing from the proper | | Uncleaned. A large chip is missing from the proper |
| right side at the base. Name painted on plinth below | | right side at the base. Name painted on plinth below |
| chest. `Hatchctt/1820/F. Chantrey S.' incised in | | chest. `Hatchctt/1820/F. Chantrey S.' incised in |
| the model in bold cursive letters on the proper | | the model in bold cursive letters on the proper |
| right side of the hem. | | right side of the hem. |
| Chantrey Sft, no. 60; I.anc Poole, no. 572. | | Chantrey Sft, no. 60; I.anc Poole, no. 572. |
| Commissioned 1820 (RA Ledger, p. 102). | | Commissioned 1820 (RA Ledger, p. 102). |
| No date for completion is recorded but the | | No date for completion is recorded but the |
| bust was paid for. Hatchett was a chemist. | | bust was paid for. Hatchett was a chemist. |
| n | | n | @@PROCESS |
| 714. Reginald HEBER, bishop of | | 714. Reginald HEBER, bishop of |
| Calcutta ( 1783-1826) | | Calcutta ( 1783-1826) |
| 71.8 cms. (height, including socle); 14,3 cms. | | 71.8 cms. (height, including socle); 14,3 cms. |
| (height of socle) | | (height of socle) |
| Uncleancd. Socle chipped on base to proper right. | | Uncleancd. Socle chipped on base to proper right. |
| Name painted on sacle. | | Name painted on sacle. |
| Chantrcy rift, no. 61; Ijane Poolc, no. 573. | | Chantrcy rift, no. 61; Ijane Poolc, no. 573. |
| The Royal Academy Ledger records no | | The Royal Academy Ledger records no |
| commission for a bust. The explanation may | | commission for a bust. The explanation may |
| be that this is rather a fragment of a projected | | be that this is rather a fragment of a projected |
| statue separately cast and mounted as a bust | | statue separately cast and mounted as a bust |
| by the sculptor-that would explain the lack | | by the sculptor-that would explain the lack |
| of compositional interest in the drapery. For | | of compositional interest in the drapery. For |
| Heber see also Nos. 642, 643. | | Heber see also Nos. 642, 643. |
| n | | n | @@PROCESS |
| 715. William HENRY ( 1774-1836) | | 715. William HENRY ( 1774-1836) |
| 74.5 cms. (height, including socle); 14.2 cms, | | 74.5 cms. (height, including socle); 14.2 cms, |
| (height of socle) | | (height of socle) |
| Unclcaned. Much flaking. A break at the back of | | Unclcaned. Much flaking. A break at the back of |
| the bust above the junction with the soclc. Name | | the bust above the junction with the soclc. Name |
| painted on socle (`HENRy M.D.'), | | painted on socle (`HENRy M.D.'), |
| Chantrey rift, no. 64; socle label, no. 47; I.ane | | Chantrey rift, no. 64; socle label, no. 47; I.ane |
| Poole, no. 576. | | Poole, no. 576. |
| Commissioncd 1836 and paid for 1842 (RA | | Commissioncd 1836 and paid for 1842 (RA |
| Iledger, p. 279). The dates suggest that the | | Iledger, p. 279). The dates suggest that the |
| bust was completed posthumously. It was | | bust was completed posthumously. It was |
| commissioncd by the Manchester Literary | | commissioncd by the Manchester Literary |
| and Philosophical Society. lame Poole's | | and Philosophical Society. lame Poole's |
| suggestion that the sitter was Dr James | | suggestion that the sitter was Dr James |
| Henry, a physician in Dublin ( 1798-1876), | | Henry, a physician in Dublin ( 1798-1876), |
| seems unlikely in view of the age and | | seems unlikely in view of the age and |
| Mancunian connection. It must represent | | Mancunian connection. It must represent |
| William Henry, chemist, of Manchester. | | William Henry, chemist, of Manchester. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| ET=iHE | | ET=iHE |
| n | | n | @@PROCESS |
| 716. Colonel Charles HERRIES | | 716. Colonel Charles HERRIES |
| (1745-1819) | | (1745-1819) |
| 56.7 cms. (height) | | 56.7 cms. (height) |
| Unclcaned. Slight flaking at nose. hargc chip | | Unclcaned. Slight flaking at nose. hargc chip |
| missing from base at rear and a superficial chip | | missing from base at rear and a superficial chip |
| missing from the coat lapel to proper left. Name | | missing from the coat lapel to proper left. Name |
| painted in chamfered area of base of chest to proper | | painted in chamfered area of base of chest to proper |
| left. `Coloncl Herries/Chantrey ft 1822' is incised | | left. `Coloncl Herries/Chantrey ft 1822' is incised |
| in a cursive hand in the model across the back. | | in a cursive hand in the model across the back. |
| Chantrey gift, no. 65; socle label, no. 4; Ime Poole, | | Chantrey gift, no. 65; socle label, no. 4; Ime Poole, |
| rro.i;fl7 . | | rro.i;fl7 . |
| The marble is part of the monument to | | The marble is part of the monument to |
| Herries in Westminster Abbey. A plaster cast | | Herries in Westminster Abbey. A plaster cast |
| after the marble was lot 223, Sotheby's, | | after the marble was lot 223, Sotheby's, |
| Ijondon, 2 April 1985. The monument was | | Ijondon, 2 April 1985. The monument was |
| commissioned in 1819 and completed in | | commissioned in 1819 and completed in |
| 1822 (RA Ledger, p. 106). I.ane Poole | | 1822 (RA Ledger, p. 106). I.ane Poole |
| conjectured that `Herries' was perhaps Licut. - | | conjectured that `Herries' was perhaps Licut. - |
| 7]5 Col. William Lewis Herries. Charles Hcrries | | 7]5 Col. William Lewis Herries. Charles Hcrries |
| was a colonel in the h)ndon and Westminster | | was a colonel in the h)ndon and Westminster |
| I.ight Horse Volunteers. | | I.ight Horse Volunteers. |
| n | | n | @@PROCESS |
| 717. Francis Seymour-Conway, 2nd | | 717. Francis Seymour-Conway, 2nd |
| marquess of HERTFORD | | marquess of HERTFORD |
| (1743-1822) | | (1743-1822) |
| 23.6 cms. (height of socle) | | 23.6 cms. (height of socle) |
| Uncleaned. The base is broken into four picccs. A | | Uncleaned. The base is broken into four picccs. A |
| fragment of the chest is missing, (The photograph | | fragment of the chest is missing, (The photograph |
| show the pieces rcassemblcd. ) Thcrc is slight | | show the pieces rcassemblcd. ) Thcrc is slight |
| flaking. There arc chips missing and scratches at | | flaking. There arc chips missing and scratches at |
| edges of breaks. also on the base of the soclc and | | edges of breaks. also on the base of the soclc and |
| on the nose. Name painted on socle. | | on the nose. Name painted on socle. |
| Chantrey rift, no. 66; paper label, no. 88; I.ane | | Chantrey rift, no. 66; paper label, no. 88; I.ane |
| Poolc, no. 578. | | Poolc, no. 578. |
| Bust and monument commissioned 1822; | | Bust and monument commissioned 1822; |
| n | | n | @@PROCESS |
| 716 bust delivered and paid for l825 (RA Ledger, | | 716 bust delivered and paid for l825 (RA Ledger, |
| p. 152). See No. 644. | | p. 152). See No. 644. |
| n | | n | @@PROCESS |
| 717 | | 717 |
| n | | n | @@PROCESS |
| 718. Sir Benjamin HOBHOUSE Bt. | | 718. Sir Benjamin HOBHOUSE Bt. |
| MP (1757-1831) | | MP (1757-1831) |
| 68.4 cms. (height, including socle); 12.8 cms, | | 68.4 cms. (height, including socle); 12.8 cms, |
| (height of socle) | | (height of socle) |
| Unclcancd. Slight flaking. Touched in by Christine | | Unclcancd. Slight flaking. Touched in by Christine |
| Gormley, September 1979, and socle repaired by | | Gormley, September 1979, and socle repaired by |
| Kathleen Kimbcr. Nanc painted on soclc. | | Kathleen Kimbcr. Nanc painted on soclc. |
| Chantrey dft, no, 69; paper label, no. 49; I.anc | | Chantrey dft, no, 69; paper label, no. 49; I.anc |
| Poole, no. 581. | | Poole, no. 581. |
| Commissioned by the West of England | | Commissioned by the West of England |
| Society for the Promotion of Agriculture | | Society for the Promotion of Agriculture |
| 1818, completed 1819 (RA Ledger, p. 87) | | 1818, completed 1819 (RA Ledger, p. 87) |
| and exhibited Royal Academy 1819 (no. | | and exhibited Royal Academy 1819 (no. |
| 1222). | | 1222). |
| I,ent to the National Trust, Belton House, | | I,ent to the National Trust, Belton House, |
| I.incolnshirc, in December 1989. | | I.incolnshirc, in December 1989. |
| n | | n | @@PROCESS |
| 235 | | 235 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 718 | | 718 |
| n | | n | @@PROCESS |
| 236 | | 236 |
| n | | n | @@PROCESS |
| 719. Sir Everard HOME Bt. | | 719. Sir Everard HOME Bt. |
| (1756-1832) | | (1756-1832) |
| 69.7 cms. (height, including soclc); 10.8 cms. | | 69.7 cms. (height, including soclc); 10.8 cms. |
| (height of socle) | | (height of socle) |
| Uncleaned. Slight flalcing, most obvious on the | | Uncleaned. Slight flalcing, most obvious on the |
| nose. Touched in by Christine Gormley, September | | nose. Touched in by Christine Gormley, September |
| 1979. Name palntcd on socle. | | 1979. Name palntcd on socle. |
| Chantrey tlft, no. 70; former paper label, no. 52; | | Chantrey tlft, no. 70; former paper label, no. 52; |
| I.ane Poole, no. 582. | | I.ane Poole, no. 582. |
| Marble in the Royal College of surgeons, | | Marble in the Royal College of surgeons, |
| I,ondon, dated 1816. Exhibited at the Royal | | I,ondon, dated 1816. Exhibited at the Royal |
| Academy 1816 (no. 935). | | Academy 1816 (no. 935). |
| I.cnt to the National Trust, Bclton House, | | I.cnt to the National Trust, Bclton House, |
| hincolnshire, in Dcccmber 1989. | | hincolnshire, in Dcccmber 1989. |
| n | | n | @@PROCESS |
| 720. Francis HORNER MP | | 720. Francis HORNER MP |
| (1778-1817) | | (1778-1817) |
| 57.5 cms. (height, including socle); 10.5 cms. | | 57.5 cms. (height, including socle); 10.5 cms. |
| (height of socle) | | (height of socle) |
| Uncleancd. Name painted on socle. | | Uncleancd. Name painted on socle. |
| Chantrey Sft, no. 71; former label on soclc, no. | | Chantrey Sft, no. 71; former label on soclc, no. |
| 86; hic Poole, no. 583. | | 86; hic Poole, no. 583. |
| Marble versions at National Portrait Gallery, | | Marble versions at National Portrait Gallery, |
| Edinburgh, dated 1818, and the Ackland Art | | Edinburgh, dated 1818, and the Ackland Art |
| Museum, University of North Carolina at | | Museum, University of North Carolina at |
| Chapel Hill, dated 1820, also cxhibitcd at | | Chapel Hill, dated 1820, also cxhibitcd at |
| the Heim Gallery, I,ondon, autumn 1972 | | the Heim Gallery, I,ondon, autumn 1972 |
| (Paintings and Sculptures 1770-1830). F.rlst | | (Paintings and Sculptures 1770-1830). F.rlst |
| commission given 1817, completed 1818 (RA | | commission given 1817, completed 1818 (RA |
| I.edger, p. 61), and exhibited Royal Academy | | I.edger, p. 61), and exhibited Royal Academy |
| 1818 (no. 1075, as posthumous). For Homer | | 1818 (no. 1075, as posthumous). For Homer |
| see also No. 648. | | see also No. 648. |
| I.cnt to the National Trust, Bclton House, | | I.cnt to the National Trust, Bclton House, |
| hincolnshire, December 1989. | | hincolnshire, December 1989. |
| n | | n | @@PROCESS |
| 721. Wihian HOWLEY, archbishop | | 721. Wihian HOWLEY, archbishop |
| of Canterbury ( 1766-1848) | | of Canterbury ( 1766-1848) |
| 56.2 cms. (height) | | 56.2 cms. (height) |
| Clcancd and shellac rcncwed by Rachcl Kenward. | | Clcancd and shellac rcncwed by Rachcl Kenward. |
| Chips missing at back comer to proper right and | | Chips missing at back comer to proper right and |
| made up at back comer to proper left. Numerous | | made up at back comer to proper left. Numerous |
| points visible. Vestiges of name formerly paintcd | | points visible. Vestiges of name formerly paintcd |
| on lower part of chest to proper left. | | on lower part of chest to proper left. |
| Chantrey dft, no. 73; ILanc Poole, no. 585. | | Chantrey dft, no. 73; ILanc Poole, no. 585. |
| Marble, dated 1821, in the Paul Mellon | | Marble, dated 1821, in the Paul Mellon |
| Center, Yale University. Another with the | | Center, Yale University. Another with the |
| same date in Canterbury Cathedral library. A | | same date in Canterbury Cathedral library. A |
| plaster cast is in I.ambeth Palace. | | plaster cast is in I.ambeth Palace. |
| n | | n | @@PROCESS |
| 722. David HUME (1757-1838) | | 722. David HUME (1757-1838) |
| 73.7 cms. (height, including soclc); 13.7 cms. | | 73.7 cms. (height, including soclc); 13.7 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleaned. Nose broken off, rcfixcd, and rebroken. | | Uncleaned. Nose broken off, rcfixcd, and rebroken. |
| Chantrey Sft, no. 74; paper label, no. 63; Irdnc | | Chantrey Sft, no. 74; paper label, no. 63; Irdnc |
| Poole, no. 586. | | Poole, no. 586. |
| Marble in the Sessions House, Edinburgh, | | Marble in the Sessions House, Edinburgh, |
| dated 1832. Commissioned 1827, completed | | dated 1832. Commissioned 1827, completed |
| 1832, paid for 1834 (RA I.edger, p. 203). | | 1832, paid for 1834 (RA I.edger, p. 203). |
| Hume was Baron of the Scottish Exchequer. | | Hume was Baron of the Scottish Exchequer. |
| n | | n | @@PROCESS |
| 723. John HUNTER ( 1728-93) | | 723. John HUNTER ( 1728-93) |
| 66.7 cms. (height, including soclc); 13.4 cms. | | 66.7 cms. (height, including soclc); 13.4 cms. |
| (height of soclc) | | (height of soclc) |
| Unclcaned. Widespread flaking. Large loss on | | Unclcaned. Widespread flaking. Large loss on |
| proper right side of the socle; a smaller loss on the | | proper right side of the socle; a smaller loss on the |
| proper left side. | | proper left side. |
| Chantrey gift, no. 75; I.anc Poolc, no. 587. | | Chantrey gift, no. 75; I.anc Poolc, no. 587. |
| Marble in the Royal Collcgc of surgeons | | Marble in the Royal Collcgc of surgeons |
| dated 1820. Hunter was one of the foremost | | dated 1820. Hunter was one of the foremost |
| anatomists of his day. | | anatomists of his day. |
| n | | n | @@PROCESS |
| 724. John IREIAND, dean of | | 724. John IREIAND, dean of |
| Westminster ( 1761-1842) | | Westminster ( 1761-1842) |
| 72 cms. (height, including socle); 14.2 cms. | | 72 cms. (height, including socle); 14.2 cms. |
| (height of socle) | | (height of socle) |
| Uncleancd. Shightly flaking on nose and drapery. A | | Uncleancd. Shightly flaking on nose and drapery. A |
| large break on the base of socle. Name painted on | | large break on the base of socle. Name painted on |
| socle ( `Ireland Dean ofwcstminstcr' ). | | socle ( `Ireland Dean ofwcstminstcr' ). |
| Chahtrey aft, no. 77; paper label, no. 18; I,ane | | Chahtrey aft, no. 77; paper label, no. 18; I,ane |
| Poole, no. 589. | | Poole, no. 589. |
| The marble, dated 1829, was presented to | | The marble, dated 1829, was presented to |
| the University of oxford on 8 December | | the University of oxford on 8 December |
| 1831 by the sitter and is in the Examination | | 1831 by the sitter and is in the Examination |
| Schools, fomerly in the Bodleian Library. | | Schools, fomerly in the Bodleian Library. |
| n | | n | @@PROCESS |
| 725. Thomas JOHNES MP, FRS | | 725. Thomas JOHNES MP, FRS |
| (1748-1816) | | (1748-1816) |
| 70 cms. (height, including socle); 13.3 cms. | | 70 cms. (height, including socle); 13.3 cms. |
| (height of socle) | | (height of socle) |
| Unclcancd. Slight flaking and small chips touched | | Unclcancd. Slight flaking and small chips touched |
| in and a large loss in the socle rcpaircd by Kathlecn | | in and a large loss in the socle rcpaircd by Kathlecn |
| RImber in November 1989. Name painted on socle. | | RImber in November 1989. Name painted on socle. |
| Chantrey dft, no. 79; I.ane Poole, no. 591. | | Chantrey dft, no. 79; I.ane Poole, no. 591. |
| Marble previously on loan to the Victoria and | | Marble previously on loan to the Victoria and |
| Albert Museum, now in the National | | Albert Museum, now in the National |
| Museum of wales. Commissioned, | | Museum of wales. Commissioned, |
| completed, and paid for 1811 (RA Ledger, | | completed, and paid for 1811 (RA Ledger, |
| p. 74), and exhibited Royal Academy 1812 | | p. 74), and exhibited Royal Academy 1812 |
| (no. 894). The ledger records that eight | | (no. 894). The ledger records that eight |
| plaster casts were sold to Johncs in addition | | plaster casts were sold to Johncs in addition |
| to the marble bust. Johnes, the builder of | | to the marble bust. Johnes, the builder of |
| Hafod, Cardigan, was an antiquary and a | | Hafod, Cardigan, was an antiquary and a |
| noted collector and patron of art. | | noted collector and patron of art. |
| I.ent in December 1989 to the National | | I.ent in December 1989 to the National |
| Trust, Belton House, Lincolnshire. | | Trust, Belton House, Lincolnshire. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 726. Edward JOHNSTONE (dates | | 726. Edward JOHNSTONE (dates |
| unknown) | | unknown) |
| 72.7 cms. (height, including socle); 12.6 cms. | | 72.7 cms. (height, including socle); 12.6 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleancd. Flaking in several areas. Damaged 1984 | | Uncleancd. Flaking in several areas. Damaged 1984 |
| by a falling packing case and repaired. Some minor | | by a falling packing case and repaired. Some minor |
| losses along the vertical repair from chest to neck. | | losses along the vertical repair from chest to neck. |
| A large chip missing from the hair to proper right. | | A large chip missing from the hair to proper right. |
| The name painted on the socle. | | The name painted on the socle. |
| Chantrey dft, no. 80; lane Poole, no. 592. | | Chantrey dft, no. 80; lane Poole, no. 592. |
| Marble in the City Museum and Art Gallery, | | Marble in the City Museum and Art Gallery, |
| Birmingha.in, dated 1819. Commissioned | | Birmingha.in, dated 1819. Commissioned |
| 1818, exhibited Royal Academy 1819 (no. | | 1818, exhibited Royal Academy 1819 (no. |
| 1204), paid for 1826 (Potts, no. 23). The | | 1204), paid for 1826 (Potts, no. 23). The |
| sitter was an illegitimate son of the marquess | | sitter was an illegitimate son of the marquess |
| 72l(b) ofwcllesley (brother ofthc duke of | | 72l(b) ofwcllesley (brother ofthc duke of |
| Wellington) and not, as I.ane Poolc supposed, | | Wellington) and not, as I.ane Poolc supposed, |
| the Edinburgh physician. | | the Edinburgh physician. |
| n | | n | @@PROCESS |
| 727. Walter KING, bishop of | | 727. Walter KING, bishop of |
| Rochester ( 1755.>-1827) | | Rochester ( 1755.>-1827) |
| 52.7 cms. (height) | | 52.7 cms. (height) |
| Uncleancd. Slight flaking near lower cdgc. Chips | | Uncleancd. Slight flaking near lower cdgc. Chips |
| missing from comers and on proper left ear. Name | | missing from comers and on proper left ear. Name |
| painted on front of bust to proper left (.King BP | | painted on front of bust to proper left (.King BP |
| ofRochestcr'). | | ofRochestcr'). |
| Chantrey Sft, no+ 82; paper label, no. 67; I,ane | | Chantrey Sft, no+ 82; paper label, no. 67; I,ane |
| Poolc, no. 594. | | Poolc, no. 594. |
| Exhibited Royal Academy 1821 (no.1136) | | Exhibited Royal Academy 1821 (no.1136) |
| and eventually incorporated in the | | and eventually incorporated in the |
| monument to King in Rochcstcr Cathedral-but | | monument to King in Rochcstcr Cathedral-but |
| a bust dated 1821 is also recorded in the | | a bust dated 1821 is also recorded in the |
| Diocesan House, Rochester. | | Diocesan House, Rochester. |
| n | | n | @@PROCESS |
| 728. Revd Alexander MACKENZIE | | 728. Revd Alexander MACKENZIE |
| (d. 1817) | | (d. 1817) |
| 59.3 cms. (height, including soclc); 9.9 cms. | | 59.3 cms. (height, including soclc); 9.9 cms. |
| (height of soclc) | | (height of soclc) |
| n | | n | @@PROCESS |
| 724 Uncleaned. Extcnsivc flaking. Vestiges of name on | | 724 Uncleaned. Extcnsivc flaking. Vestiges of name on |
| socle (`Mackcnzic.). Touched in by Kathlecn | | socle (`Mackcnzic.). Touched in by Kathlecn |
| Kimbcr in October 1989. | | Kimbcr in October 1989. |
| Chantrey dft, no. 84; paper label, no. 66; I,ane | | Chantrey dft, no. 84; paper label, no. 66; I,ane |
| Poole, no. 596. | | Poole, no. 596. |
| Marble serves as monument to the Revd | | Marble serves as monument to the Revd |
| Alexander Mackenzic in St Paul's Church, | | Alexander Mackenzic in St Paul's Church, |
| Sheffield. Commissioned 1817, completed | | Sheffield. Commissioned 1817, completed |
| 1818 (RA Ledger, p. 51). | | 1818 (RA Ledger, p. 51). |
| Lent to the National Trust, Belton House, | | Lent to the National Trust, Belton House, |
| Lincolnshire, in December 1989. | | Lincolnshire, in December 1989. |
| n | | n | @@PROCESS |
| 237 | | 237 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 729. Sir John MALCOLM Bt. GCB | | 729. Sir John MALCOLM Bt. GCB |
| (1769-1833) | | (1769-1833) |
| 79.4 cms. (height, including soclc); 12.8 cms. | | 79.4 cms. (height, including soclc); 12.8 cms. |
| (height of socle) | | (height of socle) |
| Uncleancd. Slight flaking, mostly on socle. Name | | Uncleancd. Slight flaking, mostly on socle. Name |
| painted on soclc. | | painted on soclc. |
| Chantrey Sft, no. 85; lane Pcole, no. 597. | | Chantrey Sft, no. 85; lane Pcole, no. 597. |
| Commissioned 1839, complctcd 1840 ( RA | | Commissioned 1839, complctcd 1840 ( RA |
| Ijcdger, p. 302). Malcolm was a noted | | Ijcdger, p. 302). Malcolm was a noted |
| diplomat and administrator in India. Hc was | | diplomat and administrator in India. Hc was |
| a govcmor of Bombay. See No. 651. | | a govcmor of Bombay. See No. 651. |
| n | | n | @@PROCESS |
| 730. Andrew Maconochic, 2nd I.ord | | 730. Andrew Maconochic, 2nd I.ord |
| MEADOWBANK(1777-186l) | | MEADOWBANK(1777-186l) |
| 71.6 cms. (height, including soclc); 13.2 cms. | | 71.6 cms. (height, including soclc); 13.2 cms. |
| (heightofsaclc) | | (heightofsaclc) |
| Unclcancd. Slight flaking to edge of draperies. | | Unclcancd. Slight flaking to edge of draperies. |
| Name palntcd on socle. | | Name palntcd on socle. |
| Chantrey dft, no. 87; paper label, no. 17; Irme | | Chantrey dft, no. 87; paper label, no. 17; Irme |
| Poolc, no. 599. | | Poolc, no. 599. |
| Commissioncd 1834, completed 1838 (RA | | Commissioncd 1834, completed 1838 (RA |
| Ledger, p. 288). | | Ledger, p. 288). |
| n | | n | @@PROCESS |
| 731. Wihiam I,amb, 2nd Viscount | | 731. Wihiam I,amb, 2nd Viscount |
| MELBOURNE ( 1779-1848) | | MELBOURNE ( 1779-1848) |
| 83.2 cms. (height, including soclc); 13.2 cms. | | 83.2 cms. (height, including soclc); 13.2 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleancd. Flaking, cspccially to dra.pery and | | Uncleancd. Flaking, cspccially to dra.pery and |
| forchcad. | | forchcad. |
| Chantrcy 5ft, no. 88; paper label, no. 54; hoe | | Chantrcy 5ft, no. 88; paper label, no. 54; hoe |
| Poolc, no. 600. | | Poolc, no. 600. |
| Marble at Windsor Castle dated 1841. | | Marble at Windsor Castle dated 1841. |
| Commissioncd by the queen 1839 (RA | | Commissioncd by the queen 1839 (RA |
| I.cdger, p. 300). Mclboume was Whig Prime | | I.cdger, p. 300). Mclboume was Whig Prime |
| Minister in 1834 and again 183541. He was | | Minister in 1834 and again 183541. He was |
| also political mentor to the young Queen | | also political mentor to the young Queen |
| Victoria. | | Victoria. |
| n | | n | @@PROCESS |
| 732. Henry Dundas, lst Viscount | | 732. Henry Dundas, lst Viscount |
| MELVILLE(1742-18ll) | | MELVILLE(1742-18ll) |
| 85.5 cms. (height, including plinths); 21.6 cms. | | 85.5 cms. (height, including plinths); 21.6 cms. |
| (height of plinths) | | (height of plinths) |
| Unclcancd. Flaking, mostly on head, hair, and neck. | | Unclcancd. Flaking, mostly on head, hair, and neck. |
| Name painted on proper left side of front face of | | Name painted on proper left side of front face of |
| lower plinth. | | lower plinth. |
| Chantrey dft, no. 89; Imc Poolc, no. 601. | | Chantrey dft, no. 89; Imc Poolc, no. 601. |
| Commissioned 1830, completed 1832 (RA | | Commissioned 1830, completed 1832 (RA |
| I,edger, p. 229). Melville was a prominent | | I,edger, p. 229). Melville was a prominent |
| Tory Statesman. The plinth suggests a | | Tory Statesman. The plinth suggests a |
| sepulchral setting. | | sepulchral setting. |
| n | | n | @@PROCESS |
| 238 | | 238 |
| n | | n | @@PROCESS |
| 731 | | 731 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 733. Professor William H. MILL | | 733. Professor William H. MILL |
| (1792-1853) | | (1792-1853) |
| 73.4 cms. (height, including socle); 12.6 cms. | | 73.4 cms. (height, including socle); 12.6 cms. |
| (height of socle) | | (height of socle) |
| Unclcancd. Some flaking. A recent break to the | | Unclcancd. Some flaking. A recent break to the |
| upper part and the soclc and to its base to lower | | upper part and the soclc and to its base to lower |
| left. A crack at the junction of bust and socle | | left. A crack at the junction of bust and socle |
| repaired but loose. Name palntcd on socle (`Rcvd | | repaired but loose. Name palntcd on socle (`Rcvd |
| Dr MILL). | | Dr MILL). |
| Chantrey gift, no. 90; paper label, no. 99; I.are | | Chantrey gift, no. 90; paper label, no. 99; I.are |
| Poolc, no. 602. | | Poolc, no. 602. |
| Commissioncd by the Asiatic Society, | | Commissioncd by the Asiatic Society, |
| Calcutta, 1839, completed and paid for 1840 | | Calcutta, 1839, completed and paid for 1840 |
| (RA Ledger, p. 293), exhibited Royal | | (RA Ledger, p. 293), exhibited Royal |
| Academy 1840 (no.1198, specified as | | Academy 1840 (no.1198, specified as |
| marble). Mill was Regivs Professor of Hebrew | | marble). Mill was Regivs Professor of Hebrew |
| at the University of Cambridge. | | at the University of Cambridge. |
| n | | n | @@PROCESS |
| 734. James MORRISON MP | | 734. James MORRISON MP |
| (1790-1857) | | (1790-1857) |
| 78+7 cms+ (height, including soclc); 12.8 cms. | | 78+7 cms+ (height, including soclc); 12.8 cms. |
| (height of socle) | | (height of socle) |
| Whitewashed, cxccpt for socle. Whitewash now | | Whitewashed, cxccpt for socle. Whitewash now |
| gmbby. | | gmbby. |
| Chantrey ctft, no. 91; paper label, no. 31(?); Lane | | Chantrey ctft, no. 91; paper label, no. 31(?); Lane |
| Poole, no. 603. | | Poole, no. 603. |
| Completed 1837 (RA Ledger, p. 289); | | Completed 1837 (RA Ledger, p. 289); |
| exhibited Royal Academy 1842 (no. 1409, | | exhibited Royal Academy 1842 (no. 1409, |
| specified as marble). | | specified as marble). |
| n | | n | @@PROCESS |
| 735. Revd Zachay MUDGE | | 735. Revd Zachay MUDGE |
| (1694-1769) | | (1694-1769) |
| 71.5 cms. (height) | | 71.5 cms. (height) |
| Uncleaned. Flaking scvcrely. Name painted on | | Uncleaned. Flaking scvcrely. Name painted on |
| lower part of chest. | | lower part of chest. |
| Chantrey dft, no. 92; I.ane Poole, no. 604. | | Chantrey dft, no. 92; I.ane Poole, no. 604. |
| The marble forms part of a monument in St | | The marble forms part of a monument in St |
| Andrew's Church, Plymouth. It is based on | | Andrew's Church, Plymouth. It is based on |
| the portrait by Reynolds. Commissioncd | | the portrait by Reynolds. Commissioncd |
| 1825, completed 1830 (RA Ledger, p. 179). | | 1825, completed 1830 (RA Ledger, p. 179). |
| n | | n | @@PROCESS |
| 736. Miss MUNDY | | 736. Miss MUNDY |
| 66.2 cms. (height, including socle); 12.7 cms. | | 66.2 cms. (height, including socle); 12.7 cms. |
| (height of socle) | | (height of socle) |
| Uncleaned. Slightly flaking, mostly in the hair. An | | Uncleaned. Slightly flaking, mostly in the hair. An |
| unusually red shellac on the face and neck. A crack | | unusually red shellac on the face and neck. A crack |
| at the junction of bust with soclc has bccn rcpalred. | | at the junction of bust with soclc has bccn rcpalred. |
| Touched in by Kathleen Kimbcr, October 1989. | | Touched in by Kathleen Kimbcr, October 1989. |
| Vestiges of name painted on soclc ( `Miss M . . . dy' ). | | Vestiges of name painted on soclc ( `Miss M . . . dy' ). |
| Chantrey Sft, no. 93; soclc label, no. 6; lane Poole. | | Chantrey Sft, no. 93; soclc label, no. 6; lane Poole. |
| no. 605. | | no. 605. |
| Commissioncd 1825; completed 1826 (RA | | Commissioncd 1825; completed 1826 (RA |
| Ledger, p. 182). I.ane Poole conjectured that | | Ledger, p. 182). I.ane Poole conjectured that |
| this might be either Laura (who died in 1842) | | this might be either Laura (who died in 1842) |
| n | | n | @@PROCESS |
| 239 | | 239 |
| or Emily (who died in 1839), the daughters | | or Emily (who died in 1839), the daughters |
| of Frances Mundy of Markeaton, Derby. | | of Frances Mundy of Markeaton, Derby. |
| Lent to the National Trust, Bclton House, | | Lent to the National Trust, Bclton House, |
| I.incolnshire, December 1989. | | I.incolnshire, December 1989. |
| n | | n | @@PROCESS |
| 737. Sir Thomas MUNRO Bt. | | 737. Sir Thomas MUNRO Bt. |
| (1761-1827) | | (1761-1827) |
| 67.2 cms. (height) | | 67.2 cms. (height) |
| Uncleaned. I.argc chip on lower corner of chest to | | Uncleaned. I.argc chip on lower corner of chest to |
| proper left. Na.mc palntcd on chamfered pordon | | proper left. Na.mc palntcd on chamfered pordon |
| of lower part of chest. | | of lower part of chest. |
| Chantrey ctft, no. 94; socle label, no. 126; Lane | | Chantrey ctft, no. 94; socle label, no. 126; Lane |
| Poole, no. 606. | | Poole, no. 606. |
| Exhibited at the Royal Academy 1840 (no. | | Exhibited at the Royal Academy 1840 (no. |
| 1190, specified as marble). The bust served | | 1190, specified as marble). The bust served |
| as a model for the head of the colossal statue | | as a model for the head of the colossal statue |
| commissioncd for Madras. The commission | | commissioncd for Madras. The commission |
| for the bust seems not to be recorded in the | | for the bust seems not to be recorded in the |
| RA Ledger. Munro was Governor of Madras. | | RA Ledger. Munro was Governor of Madras. |
| n | | n | @@PROCESS |
| 738. `Mr MURDOCH' | | 738. `Mr MURDOCH' |
| 71 cms. (height, including soclc); 11.8 cms. | | 71 cms. (height, including soclc); 11.8 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleaned. Flaking. A fine crackle in the paint. A | | Uncleaned. Flaking. A fine crackle in the paint. A |
| large chip missing from the proper right eyebrow. | | large chip missing from the proper right eyebrow. |
| Chips to the proper left edge of the bust and to the | | Chips to the proper left edge of the bust and to the |
| drapery proper right. Name painted on soclc (`Mr | | drapery proper right. Name painted on soclc (`Mr |
| Murdoch'). | | Murdoch'). |
| Chantrey rift, no. 95; socle Label, no. 34; I.ane | | Chantrey rift, no. 95; socle Label, no. 34; I.ane |
| Poolc, no. 607. | | Poolc, no. 607. |
| I.are Poole conjectured that this might be | | I.are Poole conjectured that this might be |
| William Murdock ( 1754-1839), the pioneer | | William Murdock ( 1754-1839), the pioneer |
| of gas lighting; a monument to him | | of gas lighting; a monument to him |
| incorporating a bust by Chantrey is in | | incorporating a bust by Chantrey is in |
| Handsworth Church. The name has, in this | | Handsworth Church. The name has, in this |
| case, been spelled incorrectly on the soclc. | | case, been spelled incorrectly on the soclc. |
| n | | n | @@PROCESS |
| 739. Joseph NEELD MP (MP | | 739. Joseph NEELD MP (MP |
| 1831-56) | | 1831-56) |
| 79.5 cms. (height, including socle); 13.2 cms. | | 79.5 cms. (height, including socle); 13.2 cms. |
| (height of socle) | | (height of socle) |
| Uncleancd. Flaking. Name painted on soclc. | | Uncleancd. Flaking. Name painted on soclc. |
| Chantrey tlft, no. 96; lane Poolc, no. 608. | | Chantrey tlft, no. 96; lane Poolc, no. 608. |
| Marble, dated 1841, formerly at Grittlcton | | Marble, dated 1841, formerly at Grittlcton |
| House, sold Christic's, IJ]ndon, lot 5, 22 | | House, sold Christic's, IJ]ndon, lot 5, 22 |
| September 1966. Commissioned 1837, | | September 1966. Commissioned 1837, |
| completed 1839 (RA Ledger, p. 288), | | completed 1839 (RA Ledger, p. 288), |
| exhibited Royal Academy 1841 (no. 1325). | | exhibited Royal Academy 1841 (no. 1325). |
| Neeld was an inportant patron of English | | Neeld was an inportant patron of English |
| sculpture in the 1840s and 1850s. He was | | sculpture in the 1840s and 1850s. He was |
| the great nephew of the Royal Silversmith | | the great nephew of the Royal Silversmith |
| Philip Rundell. | | Philip Rundell. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 240 | | 240 |
| n | | n | @@PROCESS |
| 740 | | 740 |
| n | | n | @@PROCESS |
| 740. Admiral Horatio, lst Viscount | | 740. Admiral Horatio, lst Viscount |
| NELSON ( 1758-1805) | | NELSON ( 1758-1805) |
| 93.3 cms. (height) | | 93.3 cms. (height) |
| Unclcaned. A break in the nose (repaired), losscs | | Unclcaned. A break in the nose (repaired), losscs |
| to the nostrils and to the hair. Chips missing along | | to the nostrils and to the hair. Chips missing along |
| the cdgc of. the base. A vertical crack from the base | | the cdgc of. the base. A vertical crack from the base |
| to the neck and a diagonal one from the base to | | to the neck and a diagonal one from the base to |
| below the shoulder. | | below the shoulder. |
| Chantrey Sft, no. 97; soclc label, no. 12; I.anc | | Chantrey Sft, no. 97; soclc label, no. 12; I.anc |
| Poolc, no. 609. | | Poolc, no. 609. |
| Marble versions in the Royal Collection and | | Marble versions in the Royal Collection and |
| National Portrait Gallery (4309) dated 1835. | | National Portrait Gallery (4309) dated 1835. |
| Commissioned by William IV in 1833, | | Commissioned by William IV in 1833, |
| completed and paid for 1836 (Potts, no. 9). | | completed and paid for 1836 (Potts, no. 9). |
| n | | n | @@PROCESS |
| 741. Sir John NICHOLL | | 741. Sir John NICHOLL |
| (1759-1838) | | (1759-1838) |
| 73.5 cms. (height); 13.5 cms. (height of soclc) | | 73.5 cms. (height); 13.5 cms. (height of soclc) |
| Uncleancd. Extensive flaking. Points visible. | | Uncleancd. Extensive flaking. Points visible. |
| Chantrey Sft, no. 98; Irmc Poole, no. 610. | | Chantrey Sft, no. 98; Irmc Poole, no. 610. |
| Marble at Merthyr Mawr, Glamorgan. | | Marble at Merthyr Mawr, Glamorgan. |
| Commissioned 1832, completed and paid for | | Commissioned 1832, completed and paid for |
| 1835 (RA Ledger, p. 248; see also Co#"try | | 1835 (RA Ledger, p. 248; see also Co#"try |
| £¢/G (Nov. 1984), 1279). Nicholl was dean | | £¢/G (Nov. 1984), 1279). Nicholl was dean |
| of Arches and a keen amateur scientist. | | of Arches and a keen amateur scientist. |
| n | | n | @@PROCESS |
| 742. Joseph NOLLEKENS RA | | 742. Joseph NOLLEKENS RA |
| n | | n | @@PROCESS |
| 741 ( 1737-1823) | | 741 ( 1737-1823) |
| 56.6 cms. (height, including soclc); 8.6 cms. | | 56.6 cms. (height, including soclc); 8.6 cms. |
| (height of socle) | | (height of socle) |
| Coated with whitewash, now grubby. Superficial | | Coated with whitewash, now grubby. Superficial |
| losses to proper right of base of socle. | | losses to proper right of base of socle. |
| Chantrey tift, no. 99; Irmc Pcole, no. 611. | | Chantrey tift, no. 99; Irmc Pcole, no. 611. |
| Marbles in Woburn Abbey (dated 1818) and | | Marbles in Woburn Abbey (dated 1818) and |
| the British Museum (Potts, no. 12). | | the British Museum (Potts, no. 12). |
| Commissioncd 1817 and 1818, and | | Commissioncd 1817 and 1818, and |
| completed 1819 and 1820 (RA Iledger, pp. | | completed 1819 and 1820 (RA Iledger, pp. |
| 46, 63), exhibited 1817 (no. 1038, perhaps | | 46, 63), exhibited 1817 (no. 1038, perhaps |
| a§ a plaster) and 1818 (no. 1073, the Wobunl | | a§ a plaster) and 1818 (no. 1073, the Wobunl |
| marble). Nollekens preceded Chantrey as the | | marble). Nollekens preceded Chantrey as the |
| leading portrait sculptor in I.ondon and did | | leading portrait sculptor in I.ondon and did |
| much to encourage Chantrey's practice. | | much to encourage Chantrey's practice. |
| n | | n | @@PROCESS |
| 743. James NORTHCOTE RA | | 743. James NORTHCOTE RA |
| (1746-1831) | | (1746-1831) |
| 26.7 cms. (height from break in the front of`the | | 26.7 cms. (height from break in the front of`the |
| neck to the top of the head) | | neck to the top of the head) |
| Plaster of Paris treated with sheuac and painted. | | Plaster of Paris treated with sheuac and painted. |
| The paint, now grey, flaking in parts. Broken across | | The paint, now grey, flaking in parts. Broken across |
| the neck. | | the neck. |
| Chantrey dft, no. loo; I.anc Poole, no. 612. | | Chantrey dft, no. loo; I.anc Poole, no. 612. |
| Exhibited Royal Academy 1812 (no. 932). | | Exhibited Royal Academy 1812 (no. 932). |
| See No. 652. | | See No. 652. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 744. Anne Lucy, Baroness | | 744. Anne Lucy, Baroness |
| NUGENT ( 1790-1848) | | NUGENT ( 1790-1848) |
| 62.6 cms. (height, including plinth); 7.5 cms. | | 62.6 cms. (height, including plinth); 7.5 cms. |
| (heightofpLinth) | | (heightofpLinth) |
| Cleaned and recoatcd with shellac by Rachcl | | Cleaned and recoatcd with shellac by Rachcl |
| Kenward. Points visible, Name formerly painted on | | Kenward. Points visible, Name formerly painted on |
| plinth (`Indy Nugcnt'). | | plinth (`Indy Nugcnt'). |
| Chantrey aft, no. 102 former soclc label, no. 7; | | Chantrey aft, no. 102 former soclc label, no. 7; |
| hanc Pcolc, no. 614. | | hanc Pcolc, no. 614. |
| Commissioned 1819, completed 1820, paid | | Commissioned 1819, completed 1820, paid |
| for 1826 (RA Ledger, p. 106), cxhibitcd | | for 1826 (RA Ledger, p. 106), cxhibitcd |
| Royal Academy 1820 (no. 1047). The Ledger | | Royal Academy 1820 (no. 1047). The Ledger |
| records the commission as made by I<)rd | | records the commission as made by I<)rd |
| Nugent (i.e. George, lst Baron Nugent) | | Nugent (i.e. George, lst Baron Nugent) |
| which confirms that the sitter was his wife, | | which confirms that the sitter was his wife, |
| •as hone Poole conjectured. The unusual | | •as hone Poole conjectured. The unusual |
| termination of the bust is inspired by the so-called | | termination of the bust is inspired by the so-called |
| C/#¢.e, a. famous bust portrait in Charles | | C/#¢.e, a. famous bust portrait in Charles |
| Townley's collection of antiquities which was | | Townley's collection of antiquities which was |
| acquired at Townley's death in 1804 by the | | acquired at Townley's death in 1804 by the |
| British Museum. | | British Museum. |
| n | | n | @@PROCESS |
| 745. General Sir Denis PACKE | | 745. General Sir Denis PACKE |
| (1772.>-1823) | | (1772.>-1823) |
| 72 cms. (height) | | 72 cms. (height) |
| Uncleaned. A chip missing at the base to proper | | Uncleaned. A chip missing at the base to proper |
| left. Unusually red shellac on the face. Name | | left. Unusually red shellac on the face. Name |
| painted on chamfercd portion at the lower edge of | | painted on chamfercd portion at the lower edge of |
| the chest (`Gcn' Packe') and incised in the model | | the chest (`Gcn' Packe') and incised in the model |
| on the proper left side of the bust. | | on the proper left side of the bust. |
| Chantrey Sft, no. 103; socle label, no. 41; I.one | | Chantrey Sft, no. 103; socle label, no. 41; I.one |
| Pcolc, no. 615. | | Pcolc, no. 615. |
| Commissioned 1826, completed and paid for | | Commissioned 1826, completed and paid for |
| 1829 (RA Ledger, p. 192). | | 1829 (RA Ledger, p. 192). |
| n | | n | @@PROCESS |
| 746. `Mr PERKINS' | | 746. `Mr PERKINS' |
| 63.3 cms+ (height, including soclc); 12.2 cms. | | 63.3 cms+ (height, including soclc); 12.2 cms. |
| (height of socle) | | (height of socle) |
| Clcancd (to plaster) by Mohammed Salch. Some | | Clcancd (to plaster) by Mohammed Salch. Some |
| vestiges of shellac remain. Points visible. | | vestiges of shellac remain. Points visible. |
| Chantrey tlft, no. 104; I.anc Poolc, no. 616. | | Chantrey tlft, no. 104; I.anc Poolc, no. 616. |
| Commissioned 1819, completed 1820 (RA | | Commissioned 1819, completed 1820 (RA |
| Ledger, p. 109). Described in the Chantrey | | Ledger, p. 109). Described in the Chantrey |
| dft as `Mr Pcrkins, a brewer' and proposed | | dft as `Mr Pcrkins, a brewer' and proposed |
| by I.ane Poolc as Henry Perkins, bibliophile, | | by I.ane Poolc as Henry Perkins, bibliophile, |
| a partner in the firm of Barclay, Perkins, & | | a partner in the firm of Barclay, Perkins, & |
| Co., brewers. | | Co., brewers. |
| n | | n | @@PROCESS |
| 241 | | 241 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 747. Thomas PHILLIPS RA | | 747. Thomas PHILLIPS RA |
| (1770-1845) | | (1770-1845) |
| 63.I cms. (height, including soclc); 11 cms. | | 63.I cms. (height, including soclc); 11 cms. |
| (height of soclc) | | (height of soclc) |
| Unclcaned. Some flaking. Touched in, Scptcmber | | Unclcaned. Some flaking. Touched in, Scptcmber |
| 1989, by Kathlccn Kimbcr. Name painted on soclc. | | 1989, by Kathlccn Kimbcr. Name painted on soclc. |
| Chantrey gift, no. 105; I.one Poole, no. 617. | | Chantrey gift, no. 105; I.one Poole, no. 617. |
| Completed 1816 (RA Ledger, p.11) and | | Completed 1816 (RA Ledger, p.11) and |
| cxhibitcd Royal Academy 1821 (no.1128). | | cxhibitcd Royal Academy 1821 (no.1128). |
| Phillips was a painter, chiefly of portraits, and | | Phillips was a painter, chiefly of portraits, and |
| Professor at the Royal Academy Schools. | | Professor at the Royal Academy Schools. |
| Lent to the National Trust, Belton House, | | Lent to the National Trust, Belton House, |
| hincolnshire, December 1989. | | hincolnshire, December 1989. |
| n | | n | @@PROCESS |
| 748. William PITT ( 1759-1806) | | 748. William PITT ( 1759-1806) |
| 78 cms. (height, including soclc); 13.2 cms. | | 78 cms. (height, including soclc); 13.2 cms. |
| (height of sedc) | | (height of sedc) |
| Unclcancd. Nose broken off and lost. Old repair, | | Unclcancd. Nose broken off and lost. Old repair, |
| now loose, at junction of bust with soclc. Name | | now loose, at junction of bust with soclc. Name |
| painted on soclc. | | painted on soclc. |
| Chantrey aft, no. 106; I+ane Poole, no. 618. | | Chantrey aft, no. 106; I+ane Poole, no. 618. |
| Marble in Pembrokc College, Cambridge, | | Marble in Pembrokc College, Cambridge, |
| commissioned 1832, completed and paid for | | commissioned 1832, completed and paid for |
| 1833 (RA Ledger, p. 253). Pitt was Tory | | 1833 (RA Ledger, p. 253). Pitt was Tory |
| Prime Minister 1783-1800. The portrait was | | Prime Minister 1783-1800. The portrait was |
| posthumous. See also No. 653. Another | | posthumous. See also No. 653. Another |
| plaster cast is at Cirenccster Park. The bust | | plaster cast is at Cirenccster Park. The bust |
| is derived from that by Nollckens. | | is derived from that by Nollckens. |
| n | | n | @@PROCESS |
| 749. John PIAYFAIR ( 1748-1819) | | 749. John PIAYFAIR ( 1748-1819) |
| 70.1 cms. (height, including socle); 13.8 cms. | | 70.1 cms. (height, including socle); 13.8 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleaned. Flaking. Touched in by Kathlecn | | Uncleaned. Flaking. Touched in by Kathlecn |
| RImber October 1989. Name painted on soclc | | RImber October 1989. Name painted on soclc |
| (`Professorplayfur'). | | (`Professorplayfur'). |
| Chantrey tift, no. 108; soclc label, no. 70; Lane | | Chantrey tift, no. 108; soclc label, no. 70; Lane |
| Poole, no. 620. | | Poole, no. 620. |
| Marble in the Old Library, Edinburgh | | Marble in the Old Library, Edinburgh |
| University. Commissioned 1812, completed | | University. Commissioned 1812, completed |
| and paid for 1815 (RA Ijedger, p. 22), | | and paid for 1815 (RA Ijedger, p. 22), |
| exhibited Royal Academy 1814 (no. 782). | | exhibited Royal Academy 1814 (no. 782). |
| Playfair was Professor of Natural Philosophy | | Playfair was Professor of Natural Philosophy |
| at Edinburgh University and a Fellow of the | | at Edinburgh University and a Fellow of the |
| Royal Society. | | Royal Society. |
| Lent to the National Trust, Belton, | | Lent to the National Trust, Belton, |
| I.incolnshire, December 1989. | | I.incolnshire, December 1989. |
| n | | n | @@PROCESS |
| 750. Richard PORSON | | 750. Richard PORSON |
| (1759-1808) | | (1759-1808) |
| 61.4 cms. (height) | | 61.4 cms. (height) |
| Cleaned and recoatcd with shellac by Rachel | | Cleaned and recoatcd with shellac by Rachel |
| Kcnward. Points visible. Superficial chips missing | | Kcnward. Points visible. Superficial chips missing |
| from the drapery to proper right and along the front | | from the drapery to proper right and along the front |
| edge. Na.mc formerly painted on the proper right | | edge. Na.mc formerly painted on the proper right |
| side of rcccssed base of bust ( `Professor Porson'). | | side of rcccssed base of bust ( `Professor Porson'). |
| Chantrey sift, no. 109; I.ane Poole, no. 621. | | Chantrey sift, no. 109; I.ane Poole, no. 621. |
| n | | n | @@PROCESS |
| 242 | | 242 |
| The marble is incorporated in the monument | | The marble is incorporated in the monument |
| in the antechapel of Trinity College, | | in the antechapel of Trinity College, |
| Cambridge. Porson was Rcgivs Professor of | | Cambridge. Porson was Rcgivs Professor of |
| Greek at Cambridge and one of the greatest | | Greek at Cambridge and one of the greatest |
| philolodsts of his day. | | philolodsts of his day. |
| n | | n | @@PROCESS |
| 751. John RENNIE (1761-1821) | | 751. John RENNIE (1761-1821) |
| 78.5 cms. (height, including socle); 15.7 cms. | | 78.5 cms. (height, including socle); 15.7 cms. |
| (height of soclc including tablet) | | (height of soclc including tablet) |
| Uncleaned. Extensive flaking. Chips missing from | | Uncleaned. Extensive flaking. Chips missing from |
| proper right edge of bust. Name painted on socle. | | proper right edge of bust. Name painted on socle. |
| Chantrey Sft, no.Ill; I.anc Poolc, no. 623. | | Chantrey Sft, no.Ill; I.anc Poolc, no. 623. |
| Marble in the National Portrait Gallery (649) | | Marble in the National Portrait Gallery (649) |
| dated 1818 with a different style of soclc | | dated 1818 with a different style of soclc |
| (Potts, no. 18). Another with the same date | | (Potts, no. 18). Another with the same date |
| sold lot 125 at Christie's, Ijondon, 17 July | | sold lot 125 at Christie's, Ijondon, 17 July |
| 1984. Commissioned January 1818 (RA | | 1984. Commissioned January 1818 (RA |
| Ledger, p. 58), one version exhibited Royal | | Ledger, p. 58), one version exhibited Royal |
| Academy 1818 (no. 1072). Rennie was one | | Academy 1818 (no. 1072). Rennie was one |
| of the leading civil cngincers of his day. | | of the leading civil cngincers of his day. |
| n | | n | @@PROCESS |
| 752. Sir Henry RUSSELL Bt. | | 752. Sir Henry RUSSELL Bt. |
| (1751-1836) | | (1751-1836) |
| 81.5 cms. (height, including socle); 12.7 cms. | | 81.5 cms. (height, including socle); 12.7 cms. |
| (height of socle) | | (height of socle) |
| Uncleancd. Flaking. Small chip on his left eyelid. | | Uncleancd. Flaking. Small chip on his left eyelid. |
| Name printed on socle (`Mr Russell'). | | Name printed on socle (`Mr Russell'). |
| Chantrey ctft, no.113; socle label, no.121; 1mc | | Chantrey ctft, no.113; socle label, no.121; 1mc |
| Poole, no. 625. | | Poole, no. 625. |
| Commissioncd 1821, completed and paid for | | Commissioncd 1821, completed and paid for |
| 1823 (RA Ledger, p. 143). Russell was Chief | | 1823 (RA Ledger, p. 143). Russell was Chief |
| Justice of the Supreme Court in Bengal. | | Justice of the Supreme Court in Bengal. |
| n | | n | @@PROCESS |
| 753. Admiral John Jervis, Earl ST | | 753. Admiral John Jervis, Earl ST |
| VINCENT ( 1735-1823) | | VINCENT ( 1735-1823) |
| 63,I cms. (height, including soclc); 10.3 cms. | | 63,I cms. (height, including soclc); 10.3 cms. |
| (height of sorlc) | | (height of sorlc) |
| Uncleaned. Flaking, especially in drapery, forchcad, | | Uncleaned. Flaking, especially in drapery, forchcad, |
| and nose. Eyeballs marked with pencil. Vestiges of | | and nose. Eyeballs marked with pencil. Vestiges of |
| nanc painted on soclc. | | nanc painted on soclc. |
| Chantrey Sft, no. 130; I.ane I'oolc, no. 642. | | Chantrey Sft, no. 130; I.ane I'oolc, no. 642. |
| Commissioned 1815, completed 1816 (RA | | Commissioned 1815, completed 1816 (RA |
| Ledger, p. 45 ), exhibited Royal Academy | | Ledger, p. 45 ), exhibited Royal Academy |
| 1816 (no. 949). A bust was also exhibited | | 1816 (no. 949). A bust was also exhibited |
| Royal Academy 1809 (no. 864)-this might | | Royal Academy 1809 (no. 864)-this might |
| have been a first version of which the 1815 | | have been a first version of which the 1815 |
| commission was a replica. St Vincent was one | | commission was a replica. St Vincent was one |
| of the leading admirals of the Napoleonic | | of the leading admirals of the Napoleonic |
| War. | | War. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 753 | | 753 |
| n | | n | @@PROCESS |
| 754 | | 754 |
| n | | n | @@PROCESS |
| 756 | | 756 |
| n | | n | @@PROCESS |
| 754. Princess I.ouisa Wilhelma | | 754. Princess I.ouisa Wilhelma |
| Adelaide of SAIE-lvEIMAR | | Adelaide of SAIE-lvEIMAR |
| (1817-32) | | (1817-32) |
| 66.6 cms, (height, including §ocle); 13.2 cms. | | 66.6 cms, (height, including §ocle); 13.2 cms. |
| (height of socle) | | (height of socle) |
| UncLeaned. Earlobes chipped, most gravely to | | UncLeaned. Earlobes chipped, most gravely to |
| proper right. Rfpaircd and touched in by KathJeen | | proper right. Rfpaircd and touched in by KathJeen |
| Kimbcr, October 1989. Vestiges of name palntcd | | Kimbcr, October 1989. Vestiges of name palntcd |
| on socle (`Princess . . . of saxc-Wcimar'). | | on socle (`Princess . . . of saxc-Wcimar'). |
| Chantrey ctft. no. 116; fomer socle label, no. 9; | | Chantrey ctft. no. 116; fomer socle label, no. 9; |
| I.anc Poolc, no. 628. | | I.anc Poolc, no. 628. |
| Exhibited at the Royal Academy 1833 (no. | | Exhibited at the Royal Academy 1833 (no. |
| 1176). The princess was the daughter of | | 1176). The princess was the daughter of |
| Charles Bemard of saxe-Weimar and Princess | | Charles Bemard of saxe-Weimar and Princess |
| Ida of Saxe-Meiningen. | | Ida of Saxe-Meiningen. |
| She died at Windsor Castle. | | She died at Windsor Castle. |
| Lent to the National Trust, Belton House, | | Lent to the National Trust, Belton House, |
| I.incolnshire, Dcccmber 1989. | | I.incolnshire, Dcccmber 1989. |
| n | | n | @@PROCESS |
| 755. James SCOTT (1770-1848) | | 755. James SCOTT (1770-1848) |
| 75. I cms. (height, including socle); 13.6 cms. | | 75. I cms. (height, including socle); 13.6 cms. |
| (height of socle ) | | (height of socle ) |
| Cleaned by Mohanmed Salch. Some shellac | | Cleaned by Mohanmed Salch. Some shellac |
| remains. Chips in the socle repaired. Origivally | | remains. Chips in the socle repaired. Origivally |
| painted with the name `Scott Esq.' on the soclc. | | painted with the name `Scott Esq.' on the soclc. |
| Chantrey dft, no.118; Ime Poolc, no. 630. | | Chantrey dft, no.118; Ime Poolc, no. 630. |
| Marble, dated 1833 and inscribed as | | Marble, dated 1833 and inscribed as |
| presented to John Scott (the sitter's son), in | | presented to John Scott (the sitter's son), in |
| the Royal College of surgeons. Commenced | | the Royal College of surgeons. Commenced |
| 1831, completed 1833 (RA Ledger, p. 240). | | 1831, completed 1833 (RA Ledger, p. 240). |
| Potts (no. 20) conjectures that cithcr | | Potts (no. 20) conjectures that cithcr |
| Chantrey or his wife had been treated by this | | Chantrey or his wife had been treated by this |
| eminent specialist on ulcers and rheumatism. | | eminent specialist on ulcers and rheumatism. |
| I.anc Poole misidcntificd the sitter as the | | I.anc Poole misidcntificd the sitter as the |
| engraver John Scott ( 1774-1827). | | engraver John Scott ( 1774-1827). |
| n | | n | @@PROCESS |
| 756. Sir Walter SCOTI` | | 756. Sir Walter SCOTI` |
| (1771-1832) | | (1771-1832) |
| 76. I cms. (height, including socLc); 13.4 cms. | | 76. I cms. (height, including socLc); 13.4 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleaned. Flaking severely. Name printed on | | Uncleaned. Flaking severely. Name printed on |
| soclc. | | soclc. |
| Chantrey dft, no. 117; socle label, no. 62.; I.one | | Chantrey dft, no. 117; socle label, no. 62.; I.one |
| Poole, no. 629. | | Poole, no. 629. |
| Marbles at Abbotsford (dated 1822), | | Marbles at Abbotsford (dated 1822), |
| Stratfield Saye (an autograph replica of the | | Stratfield Saye (an autograph replica of the |
| Abbotsford bust, dated 1826), Draycott | | Abbotsford bust, dated 1826), Draycott |
| Manor (dated 1828, a second version)-lso | | Manor (dated 1828, a second version)-lso |
| numerous later replicas of the Abbotsford | | numerous later replicas of the Abbotsford |
| bust, some probably produced by Chantrey's | | bust, some probably produced by Chantrey's |
| studio. The first version commissioned 1821, | | studio. The first version commissioned 1821, |
| completed 1822 (RA Iiedgcr, p. 140), | | completed 1822 (RA Iiedgcr, p. 140), |
| exhibited at the Royal Academy 1821 (no. | | exhibited at the Royal Academy 1821 (no. |
| I 133, presumably as a plaster). The second | | I 133, presumably as a plaster). The second |
| version (at Draycott, made for Sir Robert | | version (at Draycott, made for Sir Robert |
| Peel) commenced and completed in 1828. | | Peel) commenced and completed in 1828. |
| (Potts, no. 14, discusses all vcrsion§.) The | | (Potts, no. 14, discusses all vcrsion§.) The |
| n | | n | @@PROCESS |
| 243 | | 243 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| Ashmolean's plaster is from the clay model | | Ashmolean's plaster is from the clay model |
| for the first version. Scott, one of the most | | for the first version. Scott, one of the most |
| admired poets and the most popular novelist | | admired poets and the most popular novelist |
| in Europe during his lifetime, became a | | in Europe during his lifetime, became a |
| personal ffiend of the sculptor. | | personal ffiend of the sculptor. |
| n | | n | @@PROCESS |
| 757. Granville SIIARP ( 1735-1823) | | 757. Granville SIIARP ( 1735-1823) |
| 58.2 cms. (height. excluding socle); 13.6 cms. | | 58.2 cms. (height. excluding socle); 13.6 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleaned. Flaking. A chip missing from his hair | | Uncleaned. Flaking. A chip missing from his hair |
| above the sitter's right ear. The socle has split in | | above the sitter's right ear. The socle has split in |
| two owing to the rusting of an iron cramp and has | | two owing to the rusting of an iron cramp and has |
| bccn detached from the bust. Name painted on | | bccn detached from the bust. Name painted on |
| soclc. | | soclc. |
| Chantrey gift, no.119; Lane Poolc, no. 631. | | Chantrey gift, no.119; Lane Poolc, no. 631. |
| Marble in the Guildhall, I.ondon, destroyed | | Marble in the Guildhall, I.ondon, destroyed |
| 29 September 1940. Commissioned and | | 29 September 1940. Commissioned and |
| complctcd 1826 (RA I.cdgcr, p. 183). Sharp | | complctcd 1826 (RA I.cdgcr, p. 183). Sharp |
| was an eminent philanthropist, | | was an eminent philanthropist, |
| n | | n | @@PROCESS |
| 758. Wihiam SIIARP ( 1749-1824) | | 758. Wihiam SIIARP ( 1749-1824) |
| 59.3 cms, (height, including socle); 11.8 cms. | | 59.3 cms, (height, including socle); 11.8 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleaned. Slight flaking. A crack at the junction | | Uncleaned. Slight flaking. A crack at the junction |
| of bust and socle. Superficial damage to lower cdgc | | of bust and socle. Superficial damage to lower cdgc |
| of chest to proper left. Socle rcpalred and colour | | of chest to proper left. Socle rcpalred and colour |
| touched in by Kathlccn Kimber, September 1989. | | touched in by Kathlccn Kimber, September 1989. |
| Name painted on soc]c (`Wm. Sharp Engraver' ) | | Name painted on soc]c (`Wm. Sharp Engraver' ) |
| and incised in the model in neat capitals on the | | and incised in the model in neat capitals on the |
| lower edge of chest (`Wm. Sharp Eng . . . er'); `F.L. | | lower edge of chest (`Wm. Sharp Eng . . . er'); `F.L. |
| Chantrey/Sculpt./1813' is incised in a fluent hand | | Chantrey/Sculpt./1813' is incised in a fluent hand |
| in the model on the back of the neck. | | in the model on the back of the neck. |
| Chantrey Sft, no. 120; socle label, no. 124; I.ane | | Chantrey Sft, no. 120; socle label, no. 124; I.ane |
| Poole, no. 632. | | Poole, no. 632. |
| Exhibited Royal Academy 1813 (no. 928). | | Exhibited Royal Academy 1813 (no. 928). |
| Sharp was a successful engraver. | | Sharp was a successful engraver. |
| Lent to the National Trust, Bclton House, | | Lent to the National Trust, Bclton House, |
| Lincolnshire, December 1989. | | Lincolnshire, December 1989. |
| n | | n | @@PROCESS |
| 759. John Raphael SMITH | | 759. John Raphael SMITH |
| (1752-1812) | | (1752-1812) |
| 64.6 cms. (height, including socle); 12.4 cms. | | 64.6 cms. (height, including socle); 12.4 cms. |
| (height of socle) | | (height of socle) |
| Coated with whitewash, now grubby. | | Coated with whitewash, now grubby. |
| Cha.ntrey aft. no. 121; I.ane Poolc, no. 633. | | Cha.ntrey aft. no. 121; I.ane Poolc, no. 633. |
| Marble dated 1825 in the Victoria and Albert | | Marble dated 1825 in the Victoria and Albert |
| Museum commissioned by Sir Simon Clarke | | Museum commissioned by Sir Simon Clarke |
| 1824, completed and paid for Dcccmber | | 1824, completed and paid for Dcccmber |
| 1827 (RA Ledger, p. 176), made from the | | 1827 (RA Ledger, p. 176), made from the |
| plaster exhibited at the Royal Academy 1811 | | plaster exhibited at the Royal Academy 1811 |
| (no. 936) (Potts, no. 10). Smith was an | | (no. 936) (Potts, no. 10). Smith was an |
| engraver and painter who spotted Chantrey | | engraver and painter who spotted Chantrey |
| when he was an apprentice to a frame maker | | when he was an apprentice to a frame maker |
| in Sheffield and subsequently did much to | | in Sheffield and subsequently did much to |
| promote his career in I.ondon. | | promote his career in I.ondon. |
| n | | n | @@PROCESS |
| 244 | | 244 |
| n | | n | @@PROCESS |
| 760. Sir John SOANE RA | | 760. Sir John SOANE RA |
| (1753-1837) | | (1753-1837) |
| 76.8 cms. (height, including socle); 13.2 cms. | | 76.8 cms. (height, including socle); 13.2 cms. |
| (height of soclc) | | (height of soclc) |
| Cleaned and rccoated with shellac by Rachcl | | Cleaned and rccoated with shellac by Rachcl |
| Kcnward. Minor chips filled and loose junctions | | Kcnward. Minor chips filled and loose junctions |
| with soclc repaired. Points visible, | | with soclc repaired. Points visible, |
| Chantrey dft, no. 122; I.one Poolc, no. 634. | | Chantrey dft, no. 122; I.one Poolc, no. 634. |
| Marble, presented by the sculptor, in Sir John | | Marble, presented by the sculptor, in Sir John |
| Soanc museum, I.ondon. Commissioned | | Soanc museum, I.ondon. Commissioned |
| 1829, completed 1830, exhibited Royal | | 1829, completed 1830, exhibited Royal |
| Academy 1830. Soane was one of the leading | | Academy 1830. Soane was one of the leading |
| architects of the period. In return for the bust | | architects of the period. In return for the bust |
| Soa.ne designed the anteroom to Chantrey's | | Soa.ne designed the anteroom to Chantrey's |
| gallery. | | gallery. |
| n | | n | @@PROCESS |
| 761. May SoMERVILLE | | 761. May SoMERVILLE |
| (1780-1872) | | (1780-1872) |
| 73.3 cms. (height, including socle); 12,4 cms. | | 73.3 cms. (height, including socle); 12,4 cms. |
| (height of socle) | | (height of socle) |
| Superficially cleaned (to plaster). Much shellac and | | Superficially cleaned (to plaster). Much shellac and |
| some paint remains. Points visible. Slight chips | | some paint remains. Points visible. Slight chips |
| missing from the nose. Name painted on the socle | | missing from the nose. Name painted on the socle |
| (`Mrssomervillc'). | | (`Mrssomervillc'). |
| Chantrey aft, no. 123; I.one Poole, no. 635. | | Chantrey aft, no. 123; I.one Poole, no. 635. |
| Marble, da.ted 1840, in the Royal Society, | | Marble, da.ted 1840, in the Royal Society, |
| Ilondon. Commissioned 1833, completed | | Ilondon. Commissioned 1833, completed |
| 1836 (RA Ledger, p. 261), exhibited Royal | | 1836 (RA Ledger, p. 261), exhibited Royal |
| Academy 1837 (no. 1272, specified as | | Academy 1837 (no. 1272, specified as |
| marble), paid for 1842 (Potts, no. 21, with a | | marble), paid for 1842 (Potts, no. 21, with a |
| full account of the commission). There are | | full account of the commission). There are |
| oddities of dating for which several | | oddities of dating for which several |
| explanations can be advanced. The | | explanations can be advanced. The |
| preliminary drawings for the portrait are dated | | preliminary drawings for the portrait are dated |
| 1832 (before the commission) and the | | 1832 (before the commission) and the |
| marble bust although exhibited in 1837 is | | marble bust although exhibited in 1837 is |
| dated 1840. Mrs Somervillc was a noted | | dated 1840. Mrs Somervillc was a noted |
| scientist. | | scientist. |
| n | | n | @@PROCESS |
| 762. Robert SOUTHEY | | 762. Robert SOUTHEY |
| (1774-1843) | | (1774-1843) |
| 73.5 cms. (height, including soclc); 13.5 cms. | | 73.5 cms. (height, including soclc); 13.5 cms. |
| (heightofscx:lc) | | (heightofscx:lc) |
| Cleaned, the old join and shellac renewed by Rachcl | | Cleaned, the old join and shellac renewed by Rachcl |
| Kcnward. Name formerly painted on socle. | | Kcnward. Name formerly painted on socle. |
| Chantrey gift, no. 124; I.anc Poole, no. 636. | | Chantrey gift, no. 124; I.anc Poole, no. 636. |
| Marble, dated 1832, in National Portrait | | Marble, dated 1832, in National Portrait |
| Gallery (3956). Commissioncd by John | | Gallery (3956). Commissioncd by John |
| Murray 1828, completed 1832 (RA Ledger, | | Murray 1828, completed 1832 (RA Ledger, |
| p. 213), exhibited Royal Academy 1837 (no. | | p. 213), exhibited Royal Academy 1837 (no. |
| 1271, specified as marble). (Potts, no.15, | | 1271, specified as marble). (Potts, no.15, |
| discusses the circumstances of this | | discusses the circumstances of this |
| commission and accounts for the delayed | | commission and accounts for the delayed |
| delivery. ) Southey was made Poet I.aureate | | delivery. ) Southey was made Poet I.aureate |
| in 1813. Hc was noted for his biographies as | | in 1813. Hc was noted for his biographies as |
| well as his poetry. | | well as his poetry. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 763. George John, 2nd Earl | | 763. George John, 2nd Earl |
| SPENCER ( 1758-1834) | | SPENCER ( 1758-1834) |
| 54.6 cms. (height, including socle) | | 54.6 cms. (height, including socle) |
| Uncleaned. Three chips missing from front edge, | | Uncleaned. Three chips missing from front edge, |
| two to proper left. Name painted on front cdgc of | | two to proper left. Name painted on front cdgc of |
| chest to proper richt. | | chest to proper richt. |
| Chantrey 5ft, no. 125; I,anc Poolc, no. 637. | | Chantrey 5ft, no. 125; I,anc Poolc, no. 637. |
| Commissioned 1818, completed 1820 (RA | | Commissioned 1818, completed 1820 (RA |
| I.edger, p. 72), exhibited Royal Academy | | I.edger, p. 72), exhibited Royal Academy |
| 1819 (no. 1216). | | 1819 (no. 1216). |
| n | | n | @@PROCESS |
| 763 764. Thomas STOTIIARD RA | | 763 764. Thomas STOTIIARD RA |
| (1755-1834) | | (1755-1834) |
| 59.5 cms. (including soclc); 9.8 cms. (height of | | 59.5 cms. (including soclc); 9.8 cms. (height of |
| soclc, including tablet) | | soclc, including tablet) |
| Cleaned (to plaster) by Mohammcd Salch. Vestiges | | Cleaned (to plaster) by Mohammcd Salch. Vestiges |
| of shellac remain. Points visible in hair. Incised in | | of shellac remain. Points visible in hair. Incised in |
| neat capitals in the model along the front cdgc | | neat capitals in the model along the front cdgc |
| `THOMAS STOTHARD R.A.. | | `THOMAS STOTHARD R.A.. |
| Chantrey aft, no. 127; I.anc Poole, no. 639. | | Chantrey aft, no. 127; I.anc Poole, no. 639. |
| Exhibited Royal Academy 1812 (no. 927). | | Exhibited Royal Academy 1812 (no. 927). |
| Stothard was a painter, a prolific illustrator, | | Stothard was a painter, a prolific illustrator, |
| and a friend of the sculptor. | | and a friend of the sculptor. |
| n | | n | @@PROCESS |
| 765. Wilhan STRUTT | | 765. Wilhan STRUTT |
| (1756-1830). | | (1756-1830). |
| 73.5 cms. (height, including socle); 14.3 cms. | | 73.5 cms. (height, including socle); 14.3 cms. |
| (height of socle) | | (height of socle) |
| Unclcancd. Extcnsivc flaking especially on face. | | Unclcancd. Extcnsivc flaking especially on face. |
| Hole in base of socle. Name painted on soclc | | Hole in base of socle. Name painted on soclc |
| (`Strutt,)+ | | (`Strutt,)+ |
| Chantrey gift, no. 128; Lane Poole, no. 640. | | Chantrey gift, no. 128; Lane Poole, no. 640. |
| Marble, dated 1841, in Derby Museum and | | Marble, dated 1841, in Derby Museum and |
| Art Gallery. Commissioned 1835, completed | | Art Gallery. Commissioned 1835, completed |
| 1840 (RA Ledger, p. 273). Identified by I.ane | | 1840 (RA Ledger, p. 273). Identified by I.ane |
| Poole as Joseph Strutt, but by Potts (no. 22) | | Poole as Joseph Strutt, but by Potts (no. 22) |
| as a posthumous portrait of william of the | | as a posthumous portrait of william of the |
| sane family. The latter was an industrialist, | | sane family. The latter was an industrialist, |
| philanthropist, economist, and inventor. | | philanthropist, economist, and inventor. |
| n | | n | @@PROCESS |
| 766. Wmam STUART, archbishop | | 766. Wmam STUART, archbishop |
| of inagh ( 1755-1822) | | of inagh ( 1755-1822) |
| 71 cms. (height, including socle); 13.4 cms. | | 71 cms. (height, including socle); 13.4 cms. |
| (height of socle) | | (height of socle) |
| Unclcancd. The carlobc and the back of the head | | Unclcancd. The carlobc and the back of the head |
| to proper right slightly chipped. Name painted on | | to proper right slightly chipped. Name painted on |
| socle. | | socle. |
| Chantrey dft, no. 129; Ime Pcole, no. 641. | | Chantrey dft, no. 129; Ime Pcole, no. 641. |
| Marble in the Victoria and Albcrt Museuni | | Marble in the Victoria and Albcrt Museuni |
| (A.137-1956). ` | | (A.137-1956). ` |
| n | | n | @@PROCESS |
| 245 | | 245 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 767. Augustus Frederick, duke of | | 767. Augustus Frederick, duke of |
| SUSSEX ( 1773-1843) | | SUSSEX ( 1773-1843) |
| 81.7 cms. (height, including soclc); 10.7 cms. | | 81.7 cms. (height, including soclc); 10.7 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleancd. Chip at the front of the base of the | | Uncleancd. Chip at the front of the base of the |
| soclc. Name painted on soclc (`H.RH. the Duke | | soclc. Name painted on soclc (`H.RH. the Duke |
| of sussex.). | | of sussex.). |
| Chantrey aft, no. 132; soclc label, no, 60; I.ane | | Chantrey aft, no. 132; soclc label, no, 60; I.ane |
| Poole. no. 644. | | Poole. no. 644. |
| Marble in the Frccmason's Hall, I|)ndon. | | Marble in the Frccmason's Hall, I|)ndon. |
| Commissioned 1829 by the Royal ljodge of | | Commissioned 1829 by the Royal ljodge of |
| Freemasons, completed 1831 (RA Ledger, p. | | Freemasons, completed 1831 (RA Ledger, p. |
| n | | n | @@PROCESS |
| 224), exhibited Royal Academy 1832 (no. | | 224), exhibited Royal Academy 1832 (no. |
| 1218). The duke of sussex was the sixth son | | 1218). The duke of sussex was the sixth son |
| of King Gcorgc Ill. He was a Whig in politics | | of King Gcorgc Ill. He was a Whig in politics |
| in opposition to the rest of his finily. | | in opposition to the rest of his finily. |
| n | | n | @@PROCESS |
| 768. George Granville Levcson- | | 768. George Granville Levcson- |
| Gower, 2nd duke of | | Gower, 2nd duke of |
| SUTHERI.AND ( 1786-1861) | | SUTHERI.AND ( 1786-1861) |
| 75.2 cms. (height, including soclc); 12.4 cms. | | 75.2 cms. (height, including soclc); 12.4 cms. |
| (height of socle) | | (height of socle) |
| Unclcaned. Slight flaking cspccially in drapery. | | Unclcaned. Slight flaking cspccially in drapery. |
| Nanc painted on soclc. | | Nanc painted on soclc. |
| Chantrey Sft, no. 133; I.anc Poole, no. 645. | | Chantrey Sft, no. 133; I.anc Poole, no. 645. |
| Marble, dated 1829, in the Royal | | Marble, dated 1829, in the Royal |
| Hordcultural Society, I.ondon. | | Hordcultural Society, I.ondon. |
| Commissioned 1828; exhibited Royal | | Commissioned 1828; exhibited Royal |
| Academy 1829 (no. 1203, as marquess of | | Academy 1829 (no. 1203, as marquess of |
| Stafford), paid for 1830 (Potts, no. 25). A | | Stafford), paid for 1830 (Potts, no. 25). A |
| replica was commissioncd by the duchess in | | replica was commissioncd by the duchess in |
| 1829 and completed in 1830. This is in the | | 1829 and completed in 1830. This is in the |
| National Portrait Gallery, I.ondon ( 5597). | | National Portrait Gallery, I.ondon ( 5597). |
| The duke was one of the wealthiest men in | | The duke was one of the wealthiest men in |
| Britain. | | Britain. |
| n | | n | @@PROCESS |
| 769. Charles Manners SUTroN, | | 769. Charles Manners SUTroN, |
| archbishop of Canterbury | | archbishop of Canterbury |
| (1755-1828) | | (1755-1828) |
| 56,5 cms. (height, excluding socle); 11.6 cms. | | 56,5 cms. (height, excluding socle); 11.6 cms. |
| (height of sorlc ) | | (height of sorlc ) |
| Unclcaned. Bust detached ffom soclc which is | | Unclcaned. Bust detached ffom soclc which is |
| broken in two pieces. The nose and proper left | | broken in two pieces. The nose and proper left |
| carlobe broken off (fragments survive). Name | | carlobe broken off (fragments survive). Name |
| palntcd on soclc. | | palntcd on soclc. |
| Chantrey aft, no. 134; soclc label, no. 57; hanc | | Chantrey aft, no. 134; soclc label, no. 57; hanc |
| Poole, no, 646. | | Poole, no, 646. |
| The commission sccms not to be recorded in | | The commission sccms not to be recorded in |
| the RA Ledger. A plaster cast of the marble | | the RA Ledger. A plaster cast of the marble |
| is in Emmanuel Concgc hibrary, Cambridge. | | is in Emmanuel Concgc hibrary, Cambridge. |
| n | | n | @@PROCESS |
| 246 | | 246 |
| n | | n | @@PROCESS |
| 770. George Watson TAYLOR MP | | 770. George Watson TAYLOR MP |
| (d. 1841) | | (d. 1841) |
| 69.7 cms. (height, including socle); 11.7 cms. | | 69.7 cms. (height, including socle); 11.7 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleaned. Flaking on drapery. Socle dctachcd and | | Uncleaned. Flaking on drapery. Socle dctachcd and |
| refixed. Chips to front of soclc to proper left. | | refixed. Chips to front of soclc to proper left. |
| Chantrey Sft, no. 135; I.arc Poolc, no. 647. | | Chantrey Sft, no. 135; I.arc Poolc, no. 647. |
| Commis§ioned 1819, completed 1820, a.nd | | Commis§ioned 1819, completed 1820, a.nd |
| noted as unpaid (RA Ledger, p. 89), exhibited | | noted as unpaid (RA Ledger, p. 89), exhibited |
| Royal Academy 1820 (no. 1044). Taylor was | | Royal Academy 1820 (no. 1044). Taylor was |
| MP for Devizes. | | MP for Devizes. |
| n | | n | @@PROCESS |
| 771. Sir Matthew TIERNEY Bt. | | 771. Sir Matthew TIERNEY Bt. |
| (1776-1845) | | (1776-1845) |
| 73 cms. (height, including socle); 12.9 cms. | | 73 cms. (height, including socle); 12.9 cms. |
| (height of socle) | | (height of socle) |
| Uncleaned. Superficial losses to back of proper left | | Uncleaned. Superficial losses to back of proper left |
| shoulder. Point of nose broken off, refixed, and | | shoulder. Point of nose broken off, refixed, and |
| detached. Name painted on socle. | | detached. Name painted on socle. |
| Chantrey Sft, no. 136; socle label, no. 80; Irme | | Chantrey Sft, no. 136; socle label, no. 80; Irme |
| Poole. no. 648. | | Poole. no. 648. |
| Commissioned 1827, completed 1828, and | | Commissioned 1827, completed 1828, and |
| presented by the sculptor to I.ady Tiemey (RA | | presented by the sculptor to I.ady Tiemey (RA |
| Ledger, p. 202), perhaps in gratitude for | | Ledger, p. 202), perhaps in gratitude for |
| medical services. Tiemey was physician to | | medical services. Tiemey was physician to |
| RIng George IV and RIng William IV. | | RIng George IV and RIng William IV. |
| n | | n | @@PROCESS |
| 772. Thomas TOMKINS | | 772. Thomas TOMKINS |
| (1743-1816) | | (1743-1816) |
| 59.6 cms. (height, including soclc); 10,2 cms. | | 59.6 cms. (height, including soclc); 10,2 cms. |
| (height of socle ) | | (height of socle ) |
| Cleaned, losses to upper tip and forchcad filled, and | | Cleaned, losses to upper tip and forchcad filled, and |
| shellac rencwcd by Rachcl Kcnward. Chips missing | | shellac rencwcd by Rachcl Kcnward. Chips missing |
| from curl over proper left car and to base of socle. | | from curl over proper left car and to base of socle. |
| The nose and upper lip were broken off and | | The nose and upper lip were broken off and |
| rcattached probably in the last century: the join is | | rcattached probably in the last century: the join is |
| very obvious. Name formerly painted on socle | | very obvious. Name formerly painted on socle |
| `Tompkins Esq'. | | `Tompkins Esq'. |
| Chantrey Sft, no. 137; I.anc Poolc, no. 649. | | Chantrey Sft, no. 137; I.anc Poolc, no. 649. |
| Marble in the British Museum dated 1816. | | Marble in the British Museum dated 1816. |
| Commissioncd 1816, completed 1817 (RA | | Commissioncd 1816, completed 1817 (RA |
| Ledger, p. 39); exhibited Royal Academy | | Ledger, p. 39); exhibited Royal Academy |
| presumably as a cast 1816 (no. 948). | | presumably as a cast 1816 (no. 948). |
| Tomkins was author of the BG¢„fS.GJ a/ | | Tomkins was author of the BG¢„fS.GJ a/ |
| Wr!.f!."g. He kept a writing school in | | Wr!.f!."g. He kept a writing school in |
| Ilondon. The identification is due to lane | | Ilondon. The identification is due to lane |
| Poole who noted the similarity with an | | Poole who noted the similarity with an |
| engraving of a portrait of Tomkins by | | engraving of a portrait of Tomkins by |
| Englcheart. | | Englcheart. |
| n | | n | @@PROCESS |
| 767 | | 767 |
| n | | n | @@PROCESS |
| 768 | | 768 |
| n | | n | @@PROCESS |
| 770 | | 770 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 773. John Home TOORE | | 773. John Home TOORE |
| (1736-1812) | | (1736-1812) |
| 63.5 cms, (height, including socle); 8 cms. | | 63.5 cms, (height, including socle); 8 cms. |
| ( height of socle) | | ( height of socle) |
| Coated with whitewash, now grubby. Flaking | | Coated with whitewash, now grubby. Flaking |
| around nose and proper right eyebrow probably | | around nose and proper right eyebrow probably |
| indicates rcpalrs. Crack bctwecn bust and socle | | indicates rcpalrs. Crack bctwecn bust and socle |
| repaired. Incised in the model on the back of the | | repaired. Incised in the model on the back of the |
| bust: `modelled by F.L. | | bust: `modelled by F.L. |
| Chantrey/Published/December I/1810. | | Chantrey/Published/December I/1810. |
| Chantrey Sft, no. 138; I.ane Poole, no. 650. | | Chantrey Sft, no. 138; I.ane Poole, no. 650. |
| Marble in the Fitzwilliam Museum, | | Marble in the Fitzwilliam Museum, |
| Cambridge. Exhibited Royal Academy 1811 | | Cambridge. Exhibited Royal Academy 1811 |
| (no. 945). The incised inscription on the | | (no. 945). The incised inscription on the |
| plaster suggests that an edition in plaster was | | plaster suggests that an edition in plaster was |
| probably available in 1810, perhaps previous | | probably available in 1810, perhaps previous |
| to the completion of the marble. The bust | | to the completion of the marble. The bust |
| exhibited 1811 may also have been a plaster, | | exhibited 1811 may also have been a plaster, |
| but the RA I.edger (p. 81) records a version | | but the RA I.edger (p. 81) records a version |
| commissioned 1818 and completed 1820 at | | commissioned 1818 and completed 1820 at |
| a reduced price ( loo guineas) appropriate for | | a reduced price ( loo guineas) appropriate for |
| a replica-this was not paid for and the bust | | a replica-this was not paid for and the bust |
| was presented by Lady Chantrey to the | | was presented by Lady Chantrey to the |
| Fitzwilliam in 1861. Potts (no. 5) does not | | Fitzwilliam in 1861. Potts (no. 5) does not |
| discuss the bust exhibited in 1811 or the | | discuss the bust exhibited in 1811 or the |
| inscription on the plaster. Chantrey's bust of | | inscription on the plaster. Chantrey's bust of |
| Tookc's political ally and fiiend Burdctt was | | Tookc's political ally and fiiend Burdctt was |
| also available in a plaster edition (see No. | | also available in a plaster edition (see No. |
| n | | n | @@PROCESS |
| 694). Tooke, a philologist and radical | | 694). Tooke, a philologist and radical |
| politician, was a close friend of Chantrey and | | politician, was a close friend of Chantrey and |
| did much to support him in his early years in | | did much to support him in his early years in |
| London. The bust is shown in a pastel portrait | | London. The bust is shown in a pastel portrait |
| by Cha.ntrey's ffiend John Raphael Smith | | by Cha.ntrey's ffiend John Raphael Smith |
| dated July 1811 of Tooke's illegitimate | | dated July 1811 of Tooke's illegitimate |
| daughters Mary and Charlotte Hart (lot 43, | | daughters Mary and Charlotte Hart (lot 43, |
| Sotheby's, I.ondon, 16 November 1988). | | Sotheby's, I.ondon, 16 November 1988). |
| n | | n | @@PROCESS |
| 774. Queen VICTORIA | | 774. Queen VICTORIA |
| (1819-1901) | | (1819-1901) |
| 69.6 cms. (height, including socle); 12.2 cms. | | 69.6 cms. (height, including socle); 12.2 cms. |
| (height of socle) | | (height of socle) |
| Clcancd, base repaired, and shellac renewed by | | Clcancd, base repaired, and shellac renewed by |
| Rachcl Kenward. An iron dowcl (shightly rusting) | | Rachcl Kenward. An iron dowcl (shightly rusting) |
| visible at the top of the soclc. Some points visible. | | visible at the top of the soclc. Some points visible. |
| Chantrey 5ft, no. 140; former soclc label, no. 59; | | Chantrey 5ft, no. 140; former soclc label, no. 59; |
| Lane Poolc, no. 652. | | Lane Poolc, no. 652. |
| Marble, dated 1839, at Windsor Castle. | | Marble, dated 1839, at Windsor Castle. |
| Replica, dated 1841, in National Portrait | | Replica, dated 1841, in National Portrait |
| Gallery (1716). First Commissioned 1838, | | Gallery (1716). First Commissioned 1838, |
| complctcd and paid for 1840 (RA Ledger, p. | | complctcd and paid for 1840 (RA Ledger, p. |
| n | | n | @@PROCESS |
| 294), exhibited Royal Academy 1840 (no. | | 294), exhibited Royal Academy 1840 (no. |
| 1070, specified as marble). | | 1070, specified as marble). |
| APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO 0F SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 775. `Mr WARP' | | 775. `Mr WARP' |
| 57.5 cms. (height, including soclc); 11.4 cms. | | 57.5 cms. (height, including soclc); 11.4 cms. |
| (height of socle, including tablet) | | (height of socle, including tablet) |
| Cleaned (to plaster) by Mohammed Saleh, Vestiges | | Cleaned (to plaster) by Mohammed Saleh, Vestiges |
| of shellac in the hair. Much of the surface scoured. | | of shellac in the hair. Much of the surface scoured. |
| Deep scratches on temple to proper right. | | Deep scratches on temple to proper right. |
| Chantrey aft, no. 141; I.anc Poole, no. 653. | | Chantrey aft, no. 141; I.anc Poole, no. 653. |
| There is no record of this commission in the | | There is no record of this commission in the |
| Royal Academy I.cdger. In the early lists of | | Royal Academy I.cdger. In the early lists of |
| the Sfts the sitter is identified simply as `Mr | | the Sfts the sitter is identified simply as `Mr |
| Warp, merchant'. The marble was lot 149, | | Warp, merchant'. The marble was lot 149, |
| Christie's, I.ondon, 24 September 1987 as `A | | Christie's, I.ondon, 24 September 1987 as `A |
| rare early nineteenth century English marble | | rare early nineteenth century English marble |
| bust of an elderly gentleman' chiselled | | bust of an elderly gentleman' chiselled |
| `CHANTREy, SCULPTOR 1816'. | | `CHANTREy, SCULPTOR 1816'. |
| n | | n | @@PROCESS |
| 776. James WATT (1736-1819) | | 776. James WATT (1736-1819) |
| 65.9 cms. (height, including socle); 12.6 cms. | | 65.9 cms. (height, including socle); 12.6 cms. |
| (heightofsocle) | | (heightofsocle) |
| Uncleancd, Extensive flaking especially on face. | | Uncleancd, Extensive flaking especially on face. |
| Vestiges of name painted on soclc. | | Vestiges of name painted on soclc. |
| Chantrey rift, no. 143; soclc Label, no, 124; I.ane | | Chantrey rift, no. 143; soclc Label, no, 124; I.ane |
| Pcolc, no. 655. | | Pcolc, no. 655. |
| Numerous marble versions, of which that in | | Numerous marble versions, of which that in |
| the possession of I.ord Gibson-Watt (Potts, | | the possession of I.ord Gibson-Watt (Potts, |
| no. 16) is likely to be the second made. The | | no. 16) is likely to be the second made. The |
| first, commissioned by Watt himself in 1814, | | first, commissioned by Watt himself in 1814, |
| completed and exhibited Royal Academy in | | completed and exhibited Royal Academy in |
| 1815 (no. 886), probably passed, on Watt's | | 1815 (no. 886), probably passed, on Watt's |
| death, to Matthew Boulton. The replica | | death, to Matthew Boulton. The replica |
| ordered by Jancs Wan junior, the engiveer's | | ordered by Jancs Wan junior, the engiveer's |
| son, in 1822 was supplied and paid for in the | | son, in 1822 was supplied and paid for in the |
| same year (RA Ledger, p. 136-Potts dates | | same year (RA Ledger, p. 136-Potts dates |
| this transaction to 1816 presumably because | | this transaction to 1816 presumably because |
| the bust with which hc identifies it is dated | | the bust with which hc identifies it is dated |
| 1816, but the bust may have been made | | 1816, but the bust may have been made |
| previous to the order). Watt invented, among | | previous to the order). Watt invented, among |
| much else, an improved steam engive. Scc | | much else, an improved steam engive. Scc |
| No. 663. | | No. 663. |
| n | | n | @@PROCESS |
| 777. Arthur Wellesley, duke of | | 777. Arthur Wellesley, duke of |
| WELLINGTON ( 1769-1852) | | WELLINGTON ( 1769-1852) |
| 77.9 cms. (height, including socle); 12.I cms. | | 77.9 cms. (height, including socle); 12.I cms. |
| (height of sorlc) | | (height of sorlc) |
| Unclcaned, Stight flaking. Some scratches to the | | Unclcaned, Stight flaking. Some scratches to the |
| drapery. Chips missing to hair and to eyebrow to | | drapery. Chips missing to hair and to eyebrow to |
| proper right. loose on socLe. | | proper right. loose on socLe. |
| Chantrey Sft, no. 146; I.one Poole, no. 658. | | Chantrey Sft, no. 146; I.one Poole, no. 658. |
| Marbles at Windsor Castle, dated 1828, | | Marbles at Windsor Castle, dated 1828, |
| Buckingham Palace, dated 1837, and | | Buckingham Palace, dated 1837, and |
| Petworth House. The latter version | | Petworth House. The latter version |
| commissioned by the earl of Egremont in | | commissioned by the earl of Egremont in |
| 1828, completed in the same year, and paid | | 1828, completed in the same year, and paid |
| for 1831 (RA Ledger, p. 206) and that | | for 1831 (RA Ledger, p. 206) and that |
| commissioned by Ilord Brownlow 1836, | | commissioned by Ilord Brownlow 1836, |
| n | | n | @@PROCESS |
| 248 | | 248 |
| completed 1840 (ibid. 278), arc likely to be | | completed 1840 (ibid. 278), arc likely to be |
| replicas. Wellington was Commander-in- | | replicas. Wellington was Commander-in- |
| Chief of the British Army in the Napoleonic | | Chief of the British Army in the Napoleonic |
| Wars and subsequently Tory Prime Minister, | | Wars and subsequently Tory Prime Minister, |
| 1827-30. See No. 778. | | 1827-30. See No. 778. |
| n | | n | @@PROCESS |
| 778. Arthur Wellesley, duke of | | 778. Arthur Wellesley, duke of |
| WELLINGTON ( 1769-1852) | | WELLINGTON ( 1769-1852) |
| 83.5 cms. (height) | | 83.5 cms. (height) |
| Coated with whitewash. now grubby and flaking in | | Coated with whitewash. now grubby and flaking in |
| several spots on the face revealing dirt below. A | | several spots on the face revealing dirt below. A |
| stight chip also lower front of chest to proper right. | | stight chip also lower front of chest to proper right. |
| Chantrey Sft, no. 147; hanc Poolc, no. 659. | | Chantrey Sft, no. 147; hanc Poolc, no. 659. |
| Modelled in 1814, laid aside until 1835, when | | Modelled in 1814, laid aside until 1835, when |
| sold (RA Ledger, p. 189). See No. 777. | | sold (RA Ledger, p. 189). See No. 777. |
| n | | n | @@PROCESS |
| 779. Benjamin WEST PRA | | 779. Benjamin WEST PRA |
| (1738-1820) | | (1738-1820) |
| 61.7 cms. (height, including socle); 10.7 cms. | | 61.7 cms. (height, including socle); 10.7 cms. |
| (hcightofsoclc) | | (hcightofsoclc) |
| Bust coated with whitewash, now grubby and | | Bust coated with whitewash, now grubby and |
| flaking. Socle uncleaned and uncoated, A large | | flaking. Socle uncleaned and uncoated, A large |
| repaired break bctwccn soclc and bust now loose. | | repaired break bctwccn soclc and bust now loose. |
| Name painted on socle. | | Name painted on socle. |
| Chantrey Sft, no. 148; I.ane Poole, no. 660. | | Chantrey Sft, no. 148; I.ane Poole, no. 660. |
| Marbles in the Royal Academy and the | | Marbles in the Royal Academy and the |
| National Portrait Gallery, I.ondon (607), both | | National Portrait Gallery, I.ondon (607), both |
| dated 1818. The latter was commissioned | | dated 1818. The latter was commissioned |
| 1817, completed 1818 (Potts, no.11, RA | | 1817, completed 1818 (Potts, no.11, RA |
| Ledger, p. 29); the former was exhibited | | Ledger, p. 29); the former was exhibited |
| Royal Academy 1818 (no.1104) and | | Royal Academy 1818 (no.1104) and |
| presented by the sculptor to the Academy | | presented by the sculptor to the Academy |
| (RA Ledger, p. 83). Both were based on the | | (RA Ledger, p. 83). Both were based on the |
| plaster model exhibited at the Royal Academy | | plaster model exhibited at the Royal Academy |
| in 1811. West was President of the Royal | | in 1811. West was President of the Royal |
| Academy 1792-1820. He was one of the | | Academy 1792-1820. He was one of the |
| leading history painters in Britain. | | leading history painters in Britain. |
| n | | n | @@PROCESS |
| 780. Robert Grosvenor, lst | | 780. Robert Grosvenor, lst |
| marquess of WESTMINSTER | | marquess of WESTMINSTER |
| (1767-1847) | | (1767-1847) |
| 79.9 cms. (height, including socle); 13.3 cms. | | 79.9 cms. (height, including socle); 13.3 cms. |
| (height of soclc) | | (height of soclc) |
| Uncleaned. Flaking, especially in drapery. An | | Uncleaned. Flaking, especially in drapery. An |
| unusually red shellac on the face. Name painted on | | unusually red shellac on the face. Name painted on |
| socle. | | socle. |
| Chantrey Sft, no. 149; Imc Poole, no. 661. | | Chantrey Sft, no. 149; Imc Poole, no. 661. |
| Marble dated 1838 recorded at Eaton Hall, | | Marble dated 1838 recorded at Eaton Hall, |
| Chcshirc, by Gunnis. Commissioncd 1831, | | Chcshirc, by Gunnis. Commissioncd 1831, |
| completed 1839, paid for 1842 (RA Ledger, | | completed 1839, paid for 1842 (RA Ledger, |
| p. 236). The marquess was one of the | | p. 236). The marquess was one of the |
| wealthiest men in Britain. | | wealthiest men in Britain. |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 781. REg WILLIAM IV | | 781. REg WILLIAM IV |
| (1765-1837) | | (1765-1837) |
| 78,6 cms, (height, including socle); 13,3 cms, | | 78,6 cms, (height, including socle); 13,3 cms, |
| (height of soclc) | | (height of soclc) |
| Coated with whitewash, now grubby. | | Coated with whitewash, now grubby. |
| Chantrey dft, no. 150; I.ape Poolc, no. 662. | | Chantrey dft, no. 150; I.ape Poolc, no. 662. |
| Marbles at Pcnshurst Place, Kent (dated | | Marbles at Pcnshurst Place, Kent (dated |
| 1831 ); Buckingham Palace; Windsor Castle | | 1831 ); Buckingham Palace; Windsor Castle |
| (dated 1837); the Goldsmith's Company | | (dated 1837); the Goldsmith's Company |
| (dated 1835); the Royal Academy (dated | | (dated 1835); the Royal Academy (dated |
| 1841 ); Eton College. The Penshurst version | | 1841 ); Eton College. The Penshurst version |
| commissioned 1829, exhibited Royal | | commissioned 1829, exhibited Royal |
| Academy 1831 (no.1190). Replica | | Academy 1831 (no.1190). Replica |
| commissioned 1830 for the Goldsmiths' | | commissioned 1830 for the Goldsmiths' |
| Company, completed 1835 (Potts, no. 3), | | Company, completed 1835 (Potts, no. 3), |
| another commissioned 1836 for Eton | | another commissioned 1836 for Eton |
| College, completed 1838, and paid for 1839 | | College, completed 1838, and paid for 1839 |
| (RA Ledger, p. 280). | | (RA Ledger, p. 280). |
| n | | n | @@PROCESS |
| 782. Horace Hayman WII.SON | | 782. Horace Hayman WII.SON |
| (1786-1860) | | (1786-1860) |
| 78.6 cms. (height, including soclc); 13.6 cms. | | 78.6 cms. (height, including soclc); 13.6 cms. |
| (height of socle) | | (height of socle) |
| Uncleancd. Proper left eyelid chipped. Name | | Uncleancd. Proper left eyelid chipped. Name |
| painted on soclc. | | painted on soclc. |
| Chantrey gift, no. 151; I.anc Poolc, no. 663. | | Chantrey gift, no. 151; I.anc Poolc, no. 663. |
| Commissioned 1835 for the Asiatic Society | | Commissioned 1835 for the Asiatic Society |
| of Bengal, Calcutta, completed 1837 (RA | | of Bengal, Calcutta, completed 1837 (RA |
| Ijedger, p. 272), exhibited Royal Academy | | Ijedger, p. 272), exhibited Royal Academy |
| 1837 (no. 1286, specified as marble). Wilson | | 1837 (no. 1286, specified as marble). Wilson |
| was Professor of Sanskrit in the University of | | was Professor of Sanskrit in the University of |
| Oxford. | | Oxford. |
| n | | n | @@PROCESS |
| 783. Wflhian Hyde WOLIASTON | | 783. Wflhian Hyde WOLIASTON |
| (1766-1828) | | (1766-1828) |
| 72.3 cms. (height, including socle); 12.9 cms. | | 72.3 cms. (height, including socle); 12.9 cms. |
| (height of §acle) | | (height of §acle) |
| Uncleaned. Name painted on soclc ( `W.H. | | Uncleaned. Name painted on soclc ( `W.H. |
| Wollaston, M.D.'). Incised in the model on the | | Wollaston, M.D.'). Incised in the model on the |
| back `F.C.' in a very cursive hand and `DIED 22. D£C. | | back `F.C.' in a very cursive hand and `DIED 22. D£C. |
| 1828/WILLIAM HyDE WOLLASTON/M.D. V.P.RS.' | | 1828/WILLIAM HyDE WOLLASTON/M.D. V.P.RS.' |
| Chantrcy Sft, no. 152; socle Label, no. 128; Ime | | Chantrcy Sft, no. 152; socle Label, no. 128; Ime |
| Poole, no, 664. | | Poole, no, 664. |
| Commissioned 1829, completed 1830, paid | | Commissioned 1829, completed 1830, paid |
| for 1832 (RA Ledger, p. 221). Wollaston | | for 1832 (RA Ledger, p. 221). Wollaston |
| was a Fellow and Vice-Pre§idcnt of the Royal | | was a Fellow and Vice-Pre§idcnt of the Royal |
| Society. | | Society. |
| n | | n | @@PROCESS |
| 782 | | 782 |
| n | | n | @@PROCESS |
| 249 | | 249 |
| APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY | | APPENDIX I PLASTER CASTS FROM THE STUDIO OF SIR FRANCIS CHANTREY |
| n | | n | @@PROCESS |
| 784. William WORDSWORTH | | 784. William WORDSWORTH |
| (1770-1850) | | (1770-1850) |
| 57.5 cms. (height) | | 57.5 cms. (height) |
| Clcancd (to plaster) by Mohanmed Saleh. Points | | Clcancd (to plaster) by Mohanmed Saleh. Points |
| visible. | | visible. |
| Chantrey dft, no. 153; I-anc Poole, no. 665. | | Chantrey dft, no. 153; I-anc Poole, no. 665. |
| Marble bust, dated 1822, Liby Library, | | Marble bust, dated 1822, Liby Library, |
| University of Indiana, Bloomington. | | University of Indiana, Bloomington. |
| Commissioned by Sir George Beaumont | | Commissioned by Sir George Beaumont |
| 1820, completed and paid for 1821 (RA | | 1820, completed and paid for 1821 (RA |
| Ledger, p. 118), exhibited Royal Academy | | Ledger, p. 118), exhibited Royal Academy |
| 1821 (no.1134). Potts, no.13. A plaster | | 1821 (no.1134). Potts, no.13. A plaster |
| cast, presumably supplied by Chantrey, was | | cast, presumably supplied by Chantrey, was |
| in Scott's study at Abbots ford by 1832. By | | in Scott's study at Abbots ford by 1832. By |
| 1822 Wordsworth enjoyed great fame as a | | 1822 Wordsworth enjoyed great fame as a |
| poet, and by 1830 he was the most admired | | poet, and by 1830 he was the most admired |
| living British poet. | | living British poet. |
| n | | n | @@PROCESS |
| 785. Sir Jeffrey WYATVILLE RA | | 785. Sir Jeffrey WYATVILLE RA |
| (1766-1840) | | (1766-1840) |
| 74.I cms. (height, including soclc); 13.8 cms. | | 74.I cms. (height, including soclc); 13.8 cms. |
| (height of socle) | | (height of socle) |
| Uncleaned. Flaking extensively. Nanc painted on | | Uncleaned. Flaking extensively. Nanc painted on |
| socle. | | socle. |
| Chantrey 5ft, no. 154; I.ane Poole, no. 666. | | Chantrey 5ft, no. 154; I.ane Poole, no. 666. |
| Marble at Windsor Castle, dated 1837. | | Marble at Windsor Castle, dated 1837. |
| Commissioned 1835, completed 1840 (RA | | Commissioned 1835, completed 1840 (RA |
| Ledger, p. 274), exhibited 1837 (no. 1285). | | Ledger, p. 274), exhibited 1837 (no. 1285). |
| Wyatville was one of the most successful | | Wyatville was one of the most successful |
| architects of his generation. | | architects of his generation. |
| n | | n | @@PROCESS |
| 250 | | 250 |
| APPENDIX 11 | | APPENDIX 11 |
| British Furniture in the Ashmolean Museum | | British Furniture in the Ashmolean Museum |
| This list, unlike those for other schools, is not complete. Some | | This list, unlike those for other schools, is not complete. Some |
| of the chairs and tables-mostly modern ones, but also some | | of the chairs and tables-mostly modern ones, but also some |
| which are old but commonplace-used by the Museum staff in | | which are old but commonplace-used by the Museum staff in |
| their offices or by the invi$1ators in the galleries are not included. | | their offices or by the invi$1ators in the galleries are not included. |
| Also I have listed only a few of the display cases. With reluctance | | Also I have listed only a few of the display cases. With reluctance |
| I have omitted the handsome gallery furniture commissioned or | | I have omitted the handsome gallery furniture commissioned or |
| acquired by C. F. Bell-for instance, the six walnut bracketed | | acquired by C. F. Bell-for instance, the six walnut bracketed |
| wall cases (`slopes') used for the plaquettcs and medals and | | wall cases (`slopes') used for the plaquettcs and medals and |
| originally also for the miniatures; the walnut table supporting | | originally also for the miniatures; the walnut table supporting |
| the brass-framed glass case at present containing the Hispano- | | the brass-framed glass case at present containing the Hispano- |
| Morcsque ware; the six walnut curule chairs; and the oak sloping | | Morcsque ware; the six walnut curule chairs; and the oak sloping |
| case now used for the display of drawings. Also noteworthy are | | case now used for the display of drawings. Also noteworthy are |
| the cases, of shedua and American black walnut, made in recent | | the cases, of shedua and American black walnut, made in recent |
| years by John Milncs for the drawings, the porcelain, and the | | years by John Milncs for the drawings, the porcelain, and the |
| textiles, and the walnut display cases on columnar supports made | | textiles, and the walnut display cases on columnar supports made |
| for the Hill couection of musical instruments in the 1930s | | for the Hill couection of musical instruments in the 1930s |
| previous to their donation to the Museum. | | previous to their donation to the Museum. |
| This list, like those of furniture of other schools, docs not | | This list, like those of furniture of other schools, docs not |
| include frames, nor clock cases (although some of the English | | include frames, nor clock cases (although some of the English |
| 1. Court cupboard of walnut and other | | 1. Court cupboard of walnut and other |
| woods with lion and unicorn supporters. I,ate | | woods with lion and unicorn supporters. I,ate |
| sixteenth century. Cat. No. 600. | | sixteenth century. Cat. No. 600. |
| 2. Octagonal table of oak with a single solid | | 2. Octagonal table of oak with a single solid |
| octagonal support ornamented with | | octagonal support ornamented with |
| caryatids. Probably late sixteenth century in | | caryatids. Probably late sixteenth century in |
| parts. Cat. No. 601. | | parts. Cat. No. 601. |
| 3. Small coffer of oak, the front and lid and | | 3. Small coffer of oak, the front and lid and |
| spandrels carved with abstract patterns, | | spandrels carved with abstract patterns, |
| `Edward Braye 1601' chiselled prominently | | `Edward Braye 1601' chiselled prominently |
| on the front. No provenance recorded. A | | on the front. No provenance recorded. A |
| cutting from a sale catalogue gives | | cutting from a sale catalogue gives |
| Knaresborough Castle as source. Neither the | | Knaresborough Castle as source. Neither the |
| ornamental carving nor the lettering look | | ornamental carving nor the lettering look |
| genuine in style: both were probably added | | genuine in style: both were probably added |
| to a coffer, probably of the sixteenth or | | to a coffer, probably of the sixteenth or |
| seventeenth century, which was decorated | | seventeenth century, which was decorated |
| only with notched comers. | | only with notched comers. |
| 4. Chest of oak and walnut, carved with | | 4. Chest of oak and walnut, carved with |
| arcading and flutcd frieze. I.ate sixteenth | | arcading and flutcd frieze. I.ate sixteenth |
| century. No provenance recorded. The chest | | century. No provenance recorded. The chest |
| would oriSnally have been ornamented with | | would oriSnally have been ornamented with |
| stumpy pilasters supporting the arches. Its | | stumpy pilasters supporting the arches. Its |
| feet have also been cut down. It retains what | | feet have also been cut down. It retains what |
| may be origival pin hinges. | | may be origival pin hinges. |
| 5. Side table (`Credencc table') of oak with | | 5. Side table (`Credencc table') of oak with |
| a hinged top, octagonal when open, carved | | a hinged top, octagonal when open, carved |
| with an arcaded frieze including fluting and | | with an arcaded frieze including fluting and |
| ribbing between consoles, on five legs of | | ribbing between consoles, on five legs of |
| ribbed baluster form (of which the back one | | ribbed baluster form (of which the back one |
| long-case clocks are of lacquer and marquetry). Only one coin | | long-case clocks are of lacquer and marquetry). Only one coin |
| cabinet is listed here-the Combe cabinet which, like the Boulle | | cabinet is listed here-the Combe cabinet which, like the Boulle |
| medal cabinet and the Fitzwilliam p¢.Gfr¢ d#7i¢ cabinet (listed | | medal cabinet and the Fitzwilliam p¢.Gfr¢ d#7i¢ cabinet (listed |
| under French and Italian furniture), is on display outside the | | under French and Italian furniture), is on display outside the |
| Heberden Coin Room. Other fine, if less ornamental, British | | Heberden Coin Room. Other fine, if less ornamental, British |
| coin cabinets arc preserved within the Coin Room itself. | | coin cabinets arc preserved within the Coin Room itself. |
| In making this list, I have made use of a shorter one compiled | | In making this list, I have made use of a shorter one compiled |
| in 1970 by Paul Viney of Phillips, Oxford. I have received much | | in 1970 by Paul Viney of Phillips, Oxford. I have received much |
| advice on the earlier furniture from Edwin Willson. Ray Ansty | | advice on the earlier furniture from Edwin Willson. Ray Ansty |
| and John Brazier have provided me with much help identifying | | and John Brazier have provided me with much help identifying |
| the woods. | | the woods. |
| The Sft of Elizabeth Mallctt in 1961 was made in memory | | The Sft of Elizabeth Mallctt in 1961 was made in memory |
| of her parents Francis (himself a very notable benefactor) and | | of her parents Francis (himself a very notable benefactor) and |
| Margaret. The bequest of Ijady Henriques in 1953 was made | | Margaret. The bequest of Ijady Henriques in 1953 was made |
| in memory of her son Brydges Henriques (1894-1915). The | | in memory of her son Brydges Henriques (1894-1915). The |
| exact contents of the latter bequest arc unfortunately far from | | exact contents of the latter bequest arc unfortunately far from |
| clear and to avoid future confusion I have included in parcnthcsis | | clear and to avoid future confusion I have included in parcnthcsis |
| the corresponding descriptions in the lists made at the time. | | the corresponding descriptions in the lists made at the time. |
| slides out to support the open top), the four | | slides out to support the open top), the four |
| fi.ont legs on a plinth with six bun feet (the | | fi.ont legs on a plinth with six bun feet (the |
| back leg with its own bun foot). Early | | back leg with its own bun foot). Early |
| seventeenth century. Thought to have been | | seventeenth century. Thought to have been |
| presented by Elias Ashmolc in 1683. | | presented by Elias Ashmolc in 1683. |
| 6. `Thrown Chair' of ash and oak with a | | 6. `Thrown Chair' of ash and oak with a |
| triangular seat and a franc of numerous | | triangular seat and a franc of numerous |
| knobbly turned members. Perhaps early | | knobbly turned members. Perhaps early |
| seventeenth century. No provenance | | seventeenth century. No provenance |
| recorded. Such chairs were collected by | | recorded. Such chairs were collected by |
| antiquaries from Horace Walpole onwards in | | antiquaries from Horace Walpole onwards in |
| the crroncous belief they were medieval. | | the crroncous belief they were medieval. |
| Many imitations were made in the last | | Many imitations were made in the last |
| century. See C. Wainwright, 777c Roow¢##.c | | century. See C. Wainwright, 777c Roow¢##.c |
| J#fGr¢.or (I.ondon and New Haven, Conn. , | | J#fGr¢.or (I.ondon and New Haven, Conn. , |
| 1989), 58-9. | | 1989), 58-9. |
| 7. Chest of oak, decorated on the front with | | 7. Chest of oak, decorated on the front with |
| a band of geometric inlay of bog oak and | | a band of geometric inlay of bog oak and |
| holly in a dogtooth pattern framing three | | holly in a dogtooth pattern framing three |
| panels carved with geometric patterns within | | panels carved with geometric patterns within |
| lozenges. Early to mid-seventeenth century. | | lozenges. Early to mid-seventeenth century. |
| No provenance recorded. The feet have been | | No provenance recorded. The feet have been |
| cut down. | | cut down. |
| 8. Chest or cupboard of oak, the front | | 8. Chest or cupboard of oak, the front |
| panel, which is hinged at the top, framed by | | panel, which is hinged at the top, framed by |
| Ionic baluster pilasters, half pilasters also at | | Ionic baluster pilasters, half pilasters also at |
| the back of both sides, and front and sides | | the back of both sides, and front and sides |
| richly carved with strapwork, acanthus, | | richly carved with strapwork, acanthus, |
| palmettes, etc. Early to mid-seventeenth | | palmettes, etc. Early to mid-seventeenth |
| century in style. No provenance recorded. | | century in style. No provenance recorded. |
| The purpose of such a piece of furniture is | | The purpose of such a piece of furniture is |
| not easy to explain and parallels are hard to | | not easy to explain and parallels are hard to |
| find. It is probably a pastiche. | | find. It is probably a pastiche. |
| 9. Armchair of oak with a panel back, carved | | 9. Armchair of oak with a panel back, carved |
| with stylized birds and trees francd with | | with stylized birds and trees francd with |
| geometric inlay in holly and bog oak, the top | | geometric inlay in holly and bog oak, the top |
| rat with a scrolled crest, the downswept arms | | rat with a scrolled crest, the downswept arms |
| of square section, the other members (legs, | | of square section, the other members (legs, |
| front and side stretchers, and arm supports) | | front and side stretchers, and arm supports) |
| all tuned, the legs on blqck feet. Mid to late | | all tuned, the legs on blqck feet. Mid to late |
| seventeenth century and provincial in style. | | seventeenth century and provincial in style. |
| No provenance recorded. The top rail is a | | No provenance recorded. The top rail is a |
| replacement. Brass plaque behind the back | | replacement. Brass plaque behind the back |
| claims that the chair was the one in which | | claims that the chair was the one in which |
| `Clarke was murdered by Eugene Aran and | | `Clarke was murdered by Eugene Aran and |
| Houseman on 7th or 8th of Jan. 1744 or | | Houseman on 7th or 8th of Jan. 1744 or |
| 1745, and purchased by Miss Denison | | 1745, and purchased by Miss Denison |
| afterwards Mrs Jackson of Huby, on the sale | | afterwards Mrs Jackson of Huby, on the sale |
| of the murdered man's effects at Knaresbro. ' | | of the murdered man's effects at Knaresbro. ' |
| The story of Aram, a considerable scholar, | | The story of Aram, a considerable scholar, |
| and his murder of Daniel Clark(c) is given | | and his murder of Daniel Clark(c) is given |
| undc[ Aram in tl\c Dictionary Of National | | undc[ Aram in tl\c Dictionary Of National |
| Biograpky. | | Biograpky. |
| 10. Amchair of walnut with a cared seat and | | 10. Amchair of walnut with a cared seat and |
| back panel, double-bind spiral legs and | | back panel, double-bind spiral legs and |
| stretchers, columnar posts, slightly dipped | | stretchers, columnar posts, slightly dipped |
| moulded arms with some foliage at the | | moulded arms with some foliage at the |
| scrolled front ends, the high front rail, top | | scrolled front ends, the high front rail, top |
| rail, and the franc of the back panel all of a | | rail, and the franc of the back panel all of a |
| flat foliate pattern a.1680. No provena.nce | | flat foliate pattern a.1680. No provena.nce |
| n | | n | @@PROCESS |
| 251 | | 251 |
| APPENDIX II BRITISH FURNITURE INTHE ASHMOLEAN MUSEUM | | APPENDIX II BRITISH FURNITURE INTHE ASHMOLEAN MUSEUM |
| recorded. The chair is very similar to one | | recorded. The chair is very similar to one |
| stamped `R.P.' and attributed to Richard | | stamped `R.P.' and attributed to Richard |
| Price (a joiner documentcd as making caned | | Price (a joiner documentcd as making caned |
| twisted walnut chairs for the royal palaces | | twisted walnut chairs for the royal palaces |
| c.1676-83) which is at Temple Ncwsam (C. | | c.1676-83) which is at Temple Ncwsam (C. |
| aiNbert. Furniture at Temple Navsam House | | aiNbert. Furniture at Temple Navsam House |
| and IAitherton Hall (heeds, \978), i, no. 53), | | and IAitherton Hall (heeds, \978), i, no. 53), |
| but the carving of no. 10 is less elaborate-without | | but the carving of no. 10 is less elaborate-without |
| paw feet on the front legs, crowned | | paw feet on the front legs, crowned |
| finials to the posts or piercing in the scroll-work, | | finials to the posts or piercing in the scroll-work, |
| for instance. | | for instance. |
| I I . Armchair of ebohized walnut with a | | I I . Armchair of ebohized walnut with a |
| cancd seat and back panel, arms and front | | cancd seat and back panel, arms and front |
| legs of scroued form, posts, arm supports, | | legs of scroued form, posts, arm supports, |
| and stretchers of complex tuned baluster | | and stretchers of complex tuned baluster |
| form, and front rail, top rail, and the frame | | form, and front rail, top rail, and the frame |
| of the back panel in the fom of flattened | | of the back panel in the fom of flattened |
| scrolls (the scrolls of the rails centred with a | | scrolls (the scrolls of the rails centred with a |
| crown). c.1685. No provenance recorded. | | crown). c.1685. No provenance recorded. |
| The chair is very simnar to a pair of chairs at | | The chair is very simnar to a pair of chairs at |
| Temple Newsan, one of which is stamped | | Temple Newsan, one of which is stamped |
| R 8. and attributed to RIchard Bealing, a | | R 8. and attributed to RIchard Bealing, a |
| supplier of walnut furniture to King William | | supplier of walnut furniture to King William |
| Ill (op. cit. under no. 10, i, no. 54; cf. also | | Ill (op. cit. under no. 10, i, no. 54; cf. also |
| G. Wills, E"g/;ch F„roG.f#re 1550-1760 | | G. Wills, E"g/;ch F„roG.f#re 1550-1760 |
| (Ijondon,1971), 85, plate 68). | | (Ijondon,1971), 85, plate 68). |
| 12. Chest of drawers on a stand with short | | 12. Chest of drawers on a stand with short |
| single-bind spiral legs and flat cross-scrolled | | single-bind spiral legs and flat cross-scrolled |
| stretchers, above bun feet; the mouldings and | | stretchers, above bun feet; the mouldings and |
| legs of walnut, the upper surface ornamented | | legs of walnut, the upper surface ornamented |
| with a bold design of tulips and daffodils in | | with a bold design of tulips and daffodils in |
| marquetry of walnut, box, and stained bone | | marquetry of walnut, box, and stained bone |
| on a field of ebony, fromed with walnut cross-banding, | | on a field of ebony, fromed with walnut cross-banding, |
| the drawer faces ornamented with | | the drawer faces ornamented with |
| oyster veneer of olive-wood for the most part | | oyster veneer of olive-wood for the most part |
| (but another wood is employed on the central | | (but another wood is employed on the central |
| drawer). Ijatc scventccnth century. Elizabeth | | drawer). Ijatc scventccnth century. Elizabeth |
| Malictt Sft, i96i. | | Malictt Sft, i96i. |
| 13. Display cabinet of figured walnut veneer | | 13. Display cabinet of figured walnut veneer |
| over an oak carcass, on a stand of walnut; the | | over an oak carcass, on a stand of walnut; the |
| cabinet with glazed doors each with four | | cabinet with glazed doors each with four |
| bevcllcd panes and a drawer in the pulvinated | | bevcllcd panes and a drawer in the pulvinated |
| ffiezc above; the stand with one drawer on | | ffiezc above; the stand with one drawer on |
| six single-bind spira.I legs with a flat scroucd | | six single-bind spira.I legs with a flat scroucd |
| cross-stretcher above bun feet. Late | | cross-stretcher above bun feet. Late |
| seventeenth century. Elizabeth Mallett dft, | | seventeenth century. Elizabeth Mallett dft, |
| 1961. | | 1961. |
| 14. Cabinet and chest of drawers of walnut, | | 14. Cabinet and chest of drawers of walnut, |
| the doors of the upper case opening to reveal | | the doors of the upper case opening to reveal |
| small drawers around a central cupboard, the | | small drawers around a central cupboard, the |
| lower case with two short and two long | | lower case with two short and two long |
| drawers; all visible surfaces vcncered: figured | | drawers; all visible surfaces vcncered: figured |
| root walnut serving for mouldings and | | root walnut serving for mouldings and |
| cornice and used in quarter-veneer patterns | | cornice and used in quarter-veneer patterns |
| on all sides, burr walnut employed on the | | on all sides, burr walnut employed on the |
| front doors froming panels of seaweed | | front doors froming panels of seaweed |
| marquetry of a minute pattern of box on a | | marquetry of a minute pattern of box on a |
| walnut ground, the fficze of overlapping | | walnut ground, the fficze of overlapping |
| leaves of box, sand-scorched. c.1700. | | leaves of box, sand-scorched. c.1700. |
| Elizabeth Mallett aft,1961. | | Elizabeth Mallett aft,1961. |
| 15. Centre table of walnut with seaweed | | 15. Centre table of walnut with seaweed |
| marquetry on scrolled legs headed with | | marquetry on scrolled legs headed with |
| n | | n | @@PROCESS |
| 252 | | 252 |
| female heads supporting cushions. c.1700. | | female heads supporting cushions. c.1700. |
| Cat. No. 602. | | Cat. No. 602. |
| 16. Rectangular chest of drawers, consisting | | 16. Rectangular chest of drawers, consisting |
| of two small, above three long, drawers, the | | of two small, above three long, drawers, the |
| drawer faces of ash framed in cross-bending | | drawer faces of ash framed in cross-bending |
| also of ash, with panels of `seaweed' | | also of ash, with panels of `seaweed' |
| marquetry of walnut on a ground of box, the | | marquetry of walnut on a ground of box, the |
| upper surface of the chest inlaid with a | | upper surface of the chest inlaid with a |
| geometrical pattern of walnut, satinwood, and | | geometrical pattern of walnut, satinwood, and |
| mal`ogany. c.1700, parts probably later. No | | mal`ogany. c.1700, parts probably later. No |
| provenance recorded. | | provenance recorded. |
| 17. High-back armchair of walnut with | | 17. High-back armchair of walnut with |
| upholstered scat and splat ( both origivally | | upholstered scat and splat ( both origivally |
| cancd); cresting and splat franc carved with | | cancd); cresting and splat franc carved with |
| scrolls a.nd foliate ornament; posts of complex | | scrolls a.nd foliate ornament; posts of complex |
| balustcr fomi headed with blocks carved with | | balustcr fomi headed with blocks carved with |
| leaves; scrolling legs and arms ribbed and | | leaves; scrolling legs and arms ribbed and |
| carved with ancanthus; the cross-stretchers of | | carved with ancanthus; the cross-stretchers of |
| s-form with breaks centring on a finial. Early | | s-form with breaks centring on a finial. Early |
| eighteenth century (or imitation of that | | eighteenth century (or imitation of that |
| period). No provenance recorded. | | period). No provenance recorded. |
| 18. Card table with a folding top and | | 18. Card table with a folding top and |
| concertina action, the top rectangular but | | concertina action, the top rectangular but |
| with curved comers, on straight turned legs | | with curved comers, on straight turned legs |
| headed with lappets and ending in club feet; | | headed with lappets and ending in club feet; |
| the legs of solid laburnum, the closed top | | the legs of solid laburnum, the closed top |
| quarter-veneered in laburnum in a radial | | quarter-veneered in laburnum in a radial |
| pattern with box and ebony stringivg, each | | pattern with box and ebony stringivg, each |
| rail veneered with laburnum, bookmatched, | | rail veneered with laburnum, bookmatched, |
| • the open top covered with green cloth but | | • the open top covered with green cloth but |
| with the four candle circles veneered with | | with the four candle circles veneered with |
| laburnum and the four counter wells veneered | | laburnum and the four counter wells veneered |
| with mahogany c.1720-5. Lady Henriques | | with mahogany c.1720-5. Lady Henriques |
| Bequest 1953 (listed as `Tiger-wood folding | | Bequest 1953 (listed as `Tiger-wood folding |
| card tablet). A very similar card table is at | | card tablet). A very similar card table is at |
| Temple Newsam House, the chief difference | | Temple Newsam House, the chief difference |
| being that it has legs of walnut (Gilbert, op. | | being that it has legs of walnut (Gilbert, op. |
| cit. under no. 10, i, no. 383). Another wa.s | | cit. under no. 10, i, no. 383). Another wa.s |
| lot 73 at Christie's, I,ondon, 19 April 1990. | | lot 73 at Christie's, I,ondon, 19 April 1990. |
| 19, Card table with a folding top and | | 19, Card table with a folding top and |
| concertina action; the top of serpentine form | | concertina action; the top of serpentine form |
| with a small drawer above a small scrollcd | | with a small drawer above a small scrollcd |
| apron, on cabriole legs, headed with shields, | | apron, on cabriole legs, headed with shields, |
| ending in club feet. The legs are of solid | | ending in club feet. The legs are of solid |
| walnut, the rats of walnut veneer, the closed | | walnut, the rats of walnut veneer, the closed |
| top of walnut quarter-veneered and framed | | top of walnut quarter-veneered and framed |
| with cross-banding, the open top covered | | with cross-banding, the open top covered |
| with Pcf!.f Po;„f decorated with flowers, cards, | | with Pcf!.f Po;„f decorated with flowers, cards, |
| and money, with candle circles veneered in | | and money, with candle circles veneered in |
| walnut. c.1720-5. Given by Mrs W. R. F. | | walnut. c.1720-5. Given by Mrs W. R. F. |
| Weldon, June 1935. | | Weldon, June 1935. |
| 20. High-back armchair with rectangular | | 20. High-back armchair with rectangular |
| upholstered back and seat, and arm pads on | | upholstered back and seat, and arm pads on |
| the straight arms, downswept mahogany am | | the straight arms, downswept mahogany am |
| supports, cabriole legs of mahogany with | | supports, cabriole legs of mahogany with |
| foliage carved at the knee, and claw and ball | | foliage carved at the knee, and claw and ball |
| feet. Second quarter of the eighteenth | | feet. Second quarter of the eighteenth |
| century. No provenance recorded. | | century. No provenance recorded. |
| 21. Wall bracket of stepped form with a | | 21. Wall bracket of stepped form with a |
| rectangular top, lacquered in gold and brown | | rectangular top, lacquered in gold and brown |
| with a pattern of fanciful birds and diaper | | with a pattern of fanciful birds and diaper |
| work, and heavily varnished. Second quarter | | work, and heavily varnished. Second quarter |
| of the eighteenth century. No provenance | | of the eighteenth century. No provenance |
| recorded. The bracket is at present employed | | recorded. The bracket is at present employed |
| to support the Cox Clock (Cat. No. 465). | | to support the Cox Clock (Cat. No. 465). |
| The top is an addition. | | The top is an addition. |
| 22-23. Pair of massive armchairs of beech, | | 22-23. Pair of massive armchairs of beech, |
| Slded, with rectangular upholstered seats | | Slded, with rectangular upholstered seats |
| and backs and straight upholstered arms, the | | and backs and straight upholstered arms, the |
| downswept arm supports and scroll front legs | | downswept arm supports and scroll front legs |
| both carved with acanthus and linked rings | | both carved with acanthus and linked rings |
| on the chief face and with hatched scales on | | on the chief face and with hatched scales on |
| the side faces. Presumably designed by | | the side faces. Presumably designed by |
| Wlilliam Kent for Hollcham Hall, Norfolk, | | Wlilliam Kent for Hollcham Hall, Norfolk, |
| seat of Thomas Coke, first earl of Leicester. | | seat of Thomas Coke, first earl of Leicester. |
| Kent began to make designs for Holkhan in | | Kent began to make designs for Holkhan in |
| about 1730 and these chairs could have been | | about 1730 and these chairs could have been |
| made then but were more probably made | | made then but were more probably made |
| later (the central block of the house not being | | later (the central block of the house not being |
| complete until after 1750), very likely by | | complete until after 1750), very likely by |
| Benjamin Goodison, the cabinet maker chiefly | | Benjamin Goodison, the cabinet maker chiefly |
| employed for the furnishing of Hollcham | | employed for the furnishing of Hollcham |
| during the 1740s. By descnt in the Coke | | during the 1740s. By descnt in the Coke |
| Family (having been removed from Holkham | | Family (having been removed from Holkham |
| to Longford, Derbyshire) to Gerald Coke by | | to Longford, Derbyshire) to Gerald Coke by |
| whom presented in 1978 though the friends | | whom presented in 1978 though the friends |
| of the Ashmolean Museum. Similar chairs, | | of the Ashmolean Museum. Similar chairs, |
| but of mahogany, parcel gilt, remain at | | but of mahogany, parcel gilt, remain at |
| Holkham. A dctaled report on the traces of | | Holkham. A dctaled report on the traces of |
| the original upholstery compiled by Heather | | the original upholstery compiled by Heather |
| Gilbey of the Victoria and Albcrt Museum in | | Gilbey of the Victoria and Albcrt Museum in |
| October 1978 is in the Department's | | October 1978 is in the Department's |
| archives. The green silk covering and brass | | archives. The green silk covering and brass |
| nails date from the year of acquisition. | | nails date from the year of acquisition. |
| 24. Narrow dining-room side table of | | 24. Narrow dining-room side table of |
| mohagany with a Vitruvian scroll frieze on | | mohagany with a Vitruvian scroll frieze on |
| the rails, on straight square legs. In the style | | the rails, on straight square legs. In the style |
| of william Kent. c.1740. No provenance | | of william Kent. c.1740. No provenance |
| recorded. The legs have been lengthened. The | | recorded. The legs have been lengthened. The |
| long undecorated rail looks as if it orignally | | long undecorated rail looks as if it orignally |
| had attachments-probably posts to support | | had attachments-probably posts to support |
| a display gallery. | | a display gallery. |
| 25. Display cabinet in the form of a | | 25. Display cabinet in the form of a |
| rectangular vitrine with a frame and stand of | | rectangular vitrine with a frame and stand of |
| edlt pine combined with brown and ctlded | | edlt pine combined with brown and ctlded |
| lacquer, the cornice of beech, water-Blt, | | lacquer, the cornice of beech, water-Blt, |
| carved with acanthus, the cabriole legs, also | | carved with acanthus, the cabriole legs, also |
| of bccch, water-gilt, headed with acanthus | | of bccch, water-gilt, headed with acanthus |
| and on pad feet, one drawer in the stand. | | and on pad feet, one drawer in the stand. |
| Mostly Edwardian, but incorporating mid-eighteenth | | Mostly Edwardian, but incorporating mid-eighteenth |
| century fragments. J. F. Mallett | | century fragments. J. F. Mallett |
| Bequest, 1947. | | Bequest, 1947. |
| 26-31. Set of six hall chairs of mahogany | | 26-31. Set of six hall chairs of mahogany |
| with saddle scats, each chair-back of a single | | with saddle scats, each chair-back of a single |
| piece of mahogany fanning out to a waved | | piece of mahogany fanning out to a waved |
| crest and pierced in a curling radial pattern, | | crest and pierced in a curling radial pattern, |
| with ribs in each solid clement and the centre | | with ribs in each solid clement and the centre |
| of the back a solid field of waved shape | | of the back a solid field of waved shape |
| painted with the arms of Henry Rolle ( 1707- | | painted with the arms of Henry Rolle ( 1707- |
| 50), created Baron Rolle in 1747. The | | 50), created Baron Rolle in 1747. The |
| scrolled front legs have feet curled inwards in | | scrolled front legs have feet curled inwards in |
| a line continuous with the pic[ced and | | a line continuous with the pic[ced and |
| scrolled front rail. Mid-eighteenth century. | | scrolled front rail. Mid-eighteenth century. |
| Presented in 1954 by the first earl of Halifax | | Presented in 1954 by the first earl of Halifax |
| APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM | | APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM |
| KG, OM, Chancellor of the University 1933- | | KG, OM, Chancellor of the University 1933- |
| 59. The painfully crippled but sophisticated | | 59. The painfully crippled but sophisticated |
| design is related to one published in R | | design is related to one published in R |
| MaLr\warirSs Cabinet and Chairmaker's | | MaLr\warirSs Cabinet and Chairmaker's |
| Real Friend and Companion (-hondon. | | Real Friend and Companion (-hondon. |
| 1765). | | 1765). |
| 32. Tea table of mahogany, the square top | | 32. Tea table of mahogany, the square top |
| with a spindle gallery and a pierced foliate | | with a spindle gallery and a pierced foliate |
| fringe beneath the rail, on four legs, each a | | fringe beneath the rail, on four legs, each a |
| cluster of three slender straight turned shafts | | cluster of three slender straight turned shafts |
| connected with block headings, block feet, | | connected with block headings, block feet, |
| and blocks for the thin chamfered cross-stretchers | | and blocks for the thin chamfered cross-stretchers |
| c.1760. A aft from the estate of | | c.1760. A aft from the estate of |
| Walter and Anne Stoye, 14 August 1978. | | Walter and Anne Stoye, 14 August 1978. |
| Elements of this table are stylistically akin to | | Elements of this table are stylistically akin to |
| those in both the Chinese and Gothic taste. | | those in both the Chinese and Gothic taste. |
| 33. Cheval firescreen of mahogany, with a | | 33. Cheval firescreen of mahogany, with a |
| panel of Soho tapestry (showing a vase of | | panel of Soho tapestry (showing a vase of |
| flowers, a spaniel, and a parrot) on one side | | flowers, a spaniel, and a parrot) on one side |
| and on the other a panel of needlework | | and on the other a panel of needlework |
| (showing a basket of flowers), the posts | | (showing a basket of flowers), the posts |
| formed as octagonal Doric columns | | formed as octagonal Doric columns |
| superimposed on turned Corinthian ones, | | superimposed on turned Corinthian ones, |
| supported by pairs of scroll legs. c.1760. | | supported by pairs of scroll legs. c.1760. |
| Elizabeth Mallett Sft,1961. | | Elizabeth Mallett Sft,1961. |
| 34. Bureau of rectangular form, the sloping | | 34. Bureau of rectangular form, the sloping |
| drop front concealing eight large and eight | | drop front concealing eight large and eight |
| small stepped drawers, the body beneath of | | small stepped drawers, the body beneath of |
| four drawers (and no dummies) on straight | | four drawers (and no dummies) on straight |
| and tapering legs with concave collars, the | | and tapering legs with concave collars, the |
| carcass of oak veneered in parquetry of burr | | carcass of oak veneered in parquetry of burr |
| elm and figured walnut. c.1770. Provenance | | elm and figured walnut. c.1770. Provenance |
| unrecorded. | | unrecorded. |
| 35-36. Pair of console tables each with D-shaped | | 35-36. Pair of console tables each with D-shaped |
| top of satinwood veneer bordered | | top of satinwood veneer bordered |
| with walnut cross-banding, supported by | | with walnut cross-banding, supported by |
| three scrolled legs of pine painted green and | | three scrolled legs of pine painted green and |
| parcel gilt, carved with husks and acanthus, | | parcel gilt, carved with husks and acanthus, |
| headed with blocks carved with lion heads in | | headed with blocks carved with lion heads in |
| an Egyptian style, springivg from a shaped | | an Egyptian style, springivg from a shaped |
| plihith with carved paterae on its projections | | plihith with carved paterae on its projections |
| and fluting in its concavities. c.1770. I.ady | | and fluting in its concavities. c.1770. I.ady |
| Henriques Bequest, in 1953 (`palr of pier | | Henriques Bequest, in 1953 (`palr of pier |
| glass console tables'). The tops may not be | | glass console tables'). The tops may not be |
| original. | | original. |
| 37-38. Pair of pedestals (candlestands) of | | 37-38. Pair of pedestals (candlestands) of |
| satinwood veneer, with brass beading and | | satinwood veneer, with brass beading and |
| thin ebony mouldings, the block above the | | thin ebony mouldings, the block above the |
| tapering pier concave on each face, the | | tapering pier concave on each face, the |
| tapering pier swept out at its foot to meet a | | tapering pier swept out at its foot to meet a |
| rectangular plinth. c.1775. Bought in 1933. | | rectangular plinth. c.1775. Bought in 1933. |
| 39. Boudoir table veneered with satinwood | | 39. Boudoir table veneered with satinwood |
| and walnut, with a galleried ledge on the | | and walnut, with a galleried ledge on the |
| serpentine top, a single drawer above a | | serpentine top, a single drawer above a |
| curving apron, and thin cabriole legs joined | | curving apron, and thin cabriole legs joined |
| by a low shelf, the top concealing a mirror | | by a low shelf, the top concealing a mirror |
| raised on a hinged flap. The top is decorated | | raised on a hinged flap. The top is decorated |
| with a trophy of musical instruments, palm | | with a trophy of musical instruments, palm |
| branch, bays, and shells in marquetry, the | | branch, bays, and shells in marquetry, the |
| draw front decorated with parquctry, the legs | | draw front decorated with parquctry, the legs |
| decorated with marquetry ( now indistinct) of | | decorated with marquetry ( now indistinct) of |
| husks and scrolls. I.ate eighteenth century. | | husks and scrolls. I.ate eighteenth century. |
| I.ady Henriques Bequest, 1953 (`Writing-cum- | | I.ady Henriques Bequest, 1953 (`Writing-cum- |
| dressing table' ). | | dressing table' ). |
| 40. Medal cabinet of rectangular form with | | 40. Medal cabinet of rectangular form with |
| massive brass carrying handles of loop form | | massive brass carrying handles of loop form |
| on each side, decorated with marquetry of | | on each side, decorated with marquetry of |
| sycamore, box, and varieties of walnut, a | | sycamore, box, and varieties of walnut, a |
| loosely garlanded urn represented on each | | loosely garlanded urn represented on each |
| door in an oval field framed with a chequer | | door in an oval field framed with a chequer |
| pattern band. The cabinet rests on a plain | | pattern band. The cabinet rests on a plain |
| modern mahogany stand. Made for Dr | | modern mahogany stand. Made for Dr |
| Charles Combe ( 1743-1807). c.1775. | | Charles Combe ( 1743-1807). c.1775. |
| Transferred from the Bodleian Library in | | Transferred from the Bodleian Library in |
| 1920. (Heberden Coin Room.) | | 1920. (Heberden Coin Room.) |
| 41. Hanging rectangular cupboard of | | 41. Hanging rectangular cupboard of |
| mahogany containing an ivory crucifix within | | mahogany containing an ivory crucifix within |
| a gilt frame. Ijatc cightecnth century. Cat. | | a gilt frame. Ijatc cightecnth century. Cat. |
| No. 336 (for the ivory). | | No. 336 (for the ivory). |
| 42. Harlequin writing table, dressing table, | | 42. Harlequin writing table, dressing table, |
| and cupboard of rectangular form with | | and cupboard of rectangular form with |
| tambour cupboard doors in the concave knee | | tambour cupboard doors in the concave knee |
| hole, on straight tapering legs; the closed top | | hole, on straight tapering legs; the closed top |
| is of satinwood veneer with a border of walnut | | is of satinwood veneer with a border of walnut |
| cross-banding and ropetwist strinalng of | | cross-banding and ropetwist strinalng of |
| satinwood and ebony the front of quilted | | satinwood and ebony the front of quilted |
| satinwood veneer, the tambour doors of | | satinwood veneer, the tambour doors of |
| plane and walnut. Late eighteenth century. | | plane and walnut. Late eighteenth century. |
| Bequeathed anonymously,1951. A similar | | Bequeathed anonymously,1951. A similar |
| piece now at Temple Newsam House was | | piece now at Temple Newsam House was |
| published (when on loan there) by C. Gilbert | | published (when on loan there) by C. Gilbert |
| •in the Jounal Of the Furniture History Society, | | •in the Jounal Of the Furniture History Society, |
| 2 ( 1966), 40-2 (`A Shearer Harlequin Table | | 2 ( 1966), 40-2 (`A Shearer Harlequin Table |
| and its Design'), and again, with crucial | | and its Design'), and again, with crucial |
| additions, in his catalogue (op. cit. under no. | | additions, in his catalogue (op. cit. under no. |
| 10, ii, no. 429). Another such Harlequin table | | 10, ii, no. 429). Another such Harlequin table |
| is at Althoap and others have appeared in the | | is at Althoap and others have appeared in the |
| sale rooms. The model certainly existed by | | sale rooms. The model certainly existed by |
| 1779 when it was illustrated in Thomas | | 1779 when it was illustrated in Thomas |
| Mdrf yon. s Compleat Treatise on PerspectiT}e. A\ | | Mdrf yon. s Compleat Treatise on PerspectiT}e. A\ |
| drawing by London cabinet maker George | | drawing by London cabinet maker George |
| Specr may represent the original design. Two | | Specr may represent the original design. Two |
| designs also appeared in 777c C¢4;„ct M¢4Gr'j | | designs also appeared in 777c C¢4;„ct M¢4Gr'j |
| lo"do" Boo4 a/Pr}.ccf, first published I.ondon, | | lo"do" Boo4 a/Pr}.ccf, first published I.ondon, |
| 1788, one of which is signed by Thomas | | 1788, one of which is signed by Thomas |
| Shearer. | | Shearer. |
| 43. Harlequin dressing table and cupboard | | 43. Harlequin dressing table and cupboard |
| of mahogany veneer with stringivg of ebony | | of mahogany veneer with stringivg of ebony |
| and box, with one real and one dummy door, | | and box, with one real and one dummy door, |
| on straight tapering legs. I.ate eighteenth | | on straight tapering legs. I.ate eighteenth |
| century. I.ady Henriques Bequest, 1953 | | century. I.ady Henriques Bequest, 1953 |
| (`opening dressing table' ). | | (`opening dressing table' ). |
| 44. Settee of beech with a cared seat, the | | 44. Settee of beech with a cared seat, the |
| back and ams in the form of a Gothic arcade, | | back and ams in the form of a Gothic arcade, |
| on straight, turned, tapering legs, the frame | | on straight, turned, tapering legs, the frame |
| lacquered black with a band of yellow, | | lacquered black with a band of yellow, |
| running foliage painted in green on the top | | running foliage painted in green on the top |
| rail, a yellow guilloche pattern painted on the | | rail, a yellow guilloche pattern painted on the |
| seat rail. Perhaps Henriqucs Bequest, 1953 | | seat rail. Perhaps Henriqucs Bequest, 1953 |
| (it corresponds exactly with no item in any | | (it corresponds exactly with no item in any |
| list). | | list). |
| 45. Oval card table with folding top, on | | 45. Oval card table with folding top, on |
| straight tapering legs with block feet, the | | straight tapering legs with block feet, the |
| closed D-shaped top of satinwood veneer with | | closed D-shaped top of satinwood veneer with |
| a border of pale walnut cross-bending, | | a border of pale walnut cross-bending, |
| another parallel band of cross-banding in the | | another parallel band of cross-banding in the |
| centre, stringing and marquetry of paterac | | centre, stringing and marquetry of paterac |
| and of flowers and husks in fine scgmental | | and of flowers and husks in fine scgmental |
| swags, of box and sycamore with some | | swags, of box and sycamore with some |
| penwork and green staining, the open top | | penwork and green staining, the open top |
| covered with blue felt, the legs headed with | | covered with blue felt, the legs headed with |
| triglyphs in marquetry, the rall's frieze also | | triglyphs in marquetry, the rall's frieze also |
| decorated with oval patcrac. I.ate eighteenth | | decorated with oval patcrac. I.ate eighteenth |
| century. Lady Hcnriques Bequest, 1953. | | century. Lady Hcnriques Bequest, 1953. |
| 46. large oval card table with folding top, | | 46. large oval card table with folding top, |
| on straight fluted tapering legs with reeded | | on straight fluted tapering legs with reeded |
| necks, the closed D-shaped top of figured | | necks, the closed D-shaped top of figured |
| satinwood vcnecr with a border of tulipwood | | satinwood vcnecr with a border of tulipwood |
| crbss-banding and a parallel border of the | | crbss-banding and a parallel border of the |
| same defining a central D-shaped zone | | same defining a central D-shaped zone |
| decorated with floral marquetry of sycamore | | decorated with floral marquetry of sycamore |
| and some penwork against a ground of yellow | | and some penwork against a ground of yellow |
| vanish, the open top covered with green | | vanish, the open top covered with green |
| baize, the rail of satinwood veneer, the block | | baize, the rail of satinwood veneer, the block |
| heading each leg decorated with floral | | heading each leg decorated with floral |
| marquetry in an oval field, the legs of | | marquetry in an oval field, the legs of |
| satinwood. Irdte eighteenth century. Iady | | satinwood. Irdte eighteenth century. Iady |
| Henriques Bequest, 1953 (`Large oval | | Henriques Bequest, 1953 (`Large oval |
| folding table' ) . | | folding table' ) . |
| 4748. Pair of comer cupboards of | | 4748. Pair of comer cupboards of |
| mahogany, the upper stages with four shelves | | mahogany, the upper stages with four shelves |
| and glazed doors with crossing bars. I.ate | | and glazed doors with crossing bars. I.ate |
| eighteenth century. I.ady Henriques | | eighteenth century. I.ady Henriques |
| Bequest, 1953. | | Bequest, 1953. |
| 49. Ijarge breakfront bookcase and bureau | | 49. Ijarge breakfront bookcase and bureau |
| of mahogany with a flutcd ffieze intcrruptcd | | of mahogany with a flutcd ffieze intcrruptcd |
| by rosettes below a comicc of miniature | | by rosettes below a comicc of miniature |
| `Gothic' spandrel arches, the upper stage with | | `Gothic' spandrel arches, the upper stage with |
| adjustable shelves and six glazed doors with | | adjustable shelves and six glazed doors with |
| crossing bars, the lower stage on the sides | | crossing bars, the lower stage on the sides |
| with panelled doors containing cupboards | | with panelled doors containing cupboards |
| above drawers in the plinth, and in the centre | | above drawers in the plinth, and in the centre |
| with a pair of cupboard doors with oval panels | | with a pair of cupboard doors with oval panels |
| beneath a large drawer which opens to reveal | | beneath a large drawer which opens to reveal |
| pigeon holes and drawers, its front dropping | | pigeon holes and drawers, its front dropping |
| to form a writing surface. The glazed doors | | to form a writing surface. The glazed doors |
| and the cupboard doors are framed with | | and the cupboard doors are framed with |
| mahogany cross-banding in a radial pattcm, | | mahogany cross-banding in a radial pattcm, |
| the panels in the cupboards are of curl veneer | | the panels in the cupboards are of curl veneer |
| symmetrically disposed, all this veneer being | | symmetrically disposed, all this veneer being |
| of fine Cuban mahogany. IAte eighteenth | | of fine Cuban mahogany. IAte eighteenth |
| century. I.ady Henriques Bequest, 1953 | | century. I.ady Henriques Bequest, 1953 |
| (`Bureau bookcasc' in one list, `Mahogany | | (`Bureau bookcasc' in one list, `Mahogany |
| breakfront case' in another, apparently | | breakfront case' in another, apparently |
| originally allocated to the `Museun of | | originally allocated to the `Museun of |
| OrientalArt'). | | OrientalArt'). |
| 50. Work table with a concealed cabinet of | | 50. Work table with a concealed cabinet of |
| drawers on a spring mechanism, the top with | | drawers on a spring mechanism, the top with |
| concave sides, the projecting corners | | concave sides, the projecting corners |
| chamfercd, incorporating a rectangular tray | | chamfercd, incorporating a rectangular tray |
| which lifts when the rectangular cabinet | | which lifts when the rectangular cabinet |
| springs up, on straight tapering legs with | | springs up, on straight tapering legs with |
| casters. The top is quarter-veneered in | | casters. The top is quarter-veneered in |
| coromandel in a radial pattern around the | | coromandel in a radial pattern around the |
| tray which is decorated with marquetry | | tray which is decorated with marquetry |
| representing two books (of wenge and | | representing two books (of wenge and |
| n | | n | @@PROCESS |
| 253 | | 253 |
| APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM | | APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM |
| sycamore) against an oval field (of satinwood), | | sycamore) against an oval field (of satinwood), |
| contained by spandrels (of burr walnut), the | | contained by spandrels (of burr walnut), the |
| concealed spring veneered with mahogany | | concealed spring veneered with mahogany |
| with tulipwood cross-banding. Late | | with tulipwood cross-banding. Late |
| eighteenth or early nineteenth century. I.ady | | eighteenth or early nineteenth century. I.ady |
| Henriques Bequest, 1953 (`Table inlaid with | | Henriques Bequest, 1953 (`Table inlaid with |
| twovolumes'). | | twovolumes'). |
| 51-57. Suite of a settee, four side chairs, and | | 51-57. Suite of a settee, four side chairs, and |
| two armchairs of pale wood (not beech but | | two armchairs of pale wood (not beech but |
| possibly satin walnut) with caned splats and | | possibly satin walnut) with caned splats and |
| seats, each rectangular splat connected with | | seats, each rectangular splat connected with |
| the rails above and below by circles, the back | | the rails above and below by circles, the back |
| frames themselves rectangular, the seats | | frames themselves rectangular, the seats |
| rounded in front, fine tuned baluster arm | | rounded in front, fine tuned baluster arm |
| supports, tuned tapering front legs with | | supports, tuned tapering front legs with |
| cross-stretchers. The wood is decorated with | | cross-stretchers. The wood is decorated with |
| painted dark brown lines in imitation of inlay | | painted dark brown lines in imitation of inlay |
| stringing. I,ate eighteenth or early nineteenth | | stringing. I,ate eighteenth or early nineteenth |
| century. Lady Henriques Bequest, 1953 (in | | century. Lady Henriques Bequest, 1953 (in |
| one list said to be of rosewood, in another | | one list said to be of rosewood, in another |
| list described as including six side chairs- | | list described as including six side chairs- |
| perhaps because the pair of chairs histed below | | perhaps because the pair of chairs histed below |
| was carelessly associated with the suite). | | was carelessly associated with the suite). |
| 58-59. Pair of armchairs of pale wood (not | | 58-59. Pair of armchairs of pale wood (not |
| beech but possibly satin walnut) with two | | beech but possibly satin walnut) with two |
| cared rails across the rectangular back and | | cared rails across the rectangular back and |
| with rectangular caned seats, downswept | | with rectangular caned seats, downswept |
| arms, straight front tapering legs. The wood | | arms, straight front tapering legs. The wood |
| is decorated with blue painted lines in | | is decorated with blue painted lines in |
| imitation of inlay stringing. Irate eighteenth | | imitation of inlay stringing. Irate eighteenth |
| or early nineteenth century. I.ady Henriques | | or early nineteenth century. I.ady Henriques |
| Bequest,1953 ( satinwood and canework | | Bequest,1953 ( satinwood and canework |
| armchairs' in one list, in another list possibly | | armchairs' in one list, in another list possibly |
| incorporated in the suite described above). | | incorporated in the suite described above). |
| 60ndl. Pair of armchairs of beech with | | 60ndl. Pair of armchairs of beech with |
| rectangular caned backs and seats, | | rectangular caned backs and seats, |
| downswept amis, and splayed turned front | | downswept amis, and splayed turned front |
| legs, the frame painted black and decorated | | legs, the frame painted black and decorated |
| with coloured flowers. Early nineteenth | | with coloured flowers. Early nineteenth |
| century. I,ady Henriques Bequest, 1953 | | century. I,ady Henriques Bequest, 1953 |
| (presumably the `palr of painted armchairs' | | (presumably the `palr of painted armchairs' |
| mentioned in one list). | | mentioned in one list). |
| 62-64. Set of three side chairs of beech with | | 62-64. Set of three side chairs of beech with |
| rectangular caned seats, with pierced cross | | rectangular caned seats, with pierced cross |
| rails on the backs, on splayed tuned front | | rails on the backs, on splayed tuned front |
| legs, the frame lacquered in initation of | | legs, the frame lacquered in initation of |
| rosewood (now mostly blackened) with a | | rosewood (now mostly blackened) with a |
| floral pattern in gold. Early nineteenth | | floral pattern in gold. Early nineteenth |
| century. Perhaps I,ady Henriques Bequest, | | century. Perhaps I,ady Henriques Bequest, |
| 1953 (possibly the `pair [fz.c] of amchalrs | | 1953 (possibly the `pair [fz.c] of amchalrs |
| [J¢.c] lacquered in the Chinese manner', unless | | [J¢.c] lacquered in the Chinese manner', unless |
| this is taken to refer to the pair described | | this is taken to refer to the pair described |
| above.- possibility increased by the fact that | | above.- possibility increased by the fact that |
| the description docs not appear on the same | | the description docs not appear on the same |
| list as the `pair of painted armchairs'). | | list as the `pair of painted armchairs'). |
| 65. Partner's writing table of rectangular | | 65. Partner's writing table of rectangular |
| fom on four straight tapering legs with one | | fom on four straight tapering legs with one |
| large central drawer flanked by two shorter | | large central drawer flanked by two shorter |
| drawers on each long side stepped to | | drawers on each long side stepped to |
| accommmodatc knees. The top covered with | | accommmodatc knees. The top covered with |
| green baize, other surfaces veneered with | | green baize, other surfaces veneered with |
| mahogany, each drawer face framed with | | mahogany, each drawer face framed with |
| t | | t | @@PROCESS |
| 254 | | 254 |
| coromandcl cross-banding and box stringing. | | coromandcl cross-banding and box stringing. |
| Oridnal brass loop handles. I,ady Henriques | | Oridnal brass loop handles. I,ady Henriques |
| Bequest, 1953. | | Bequest, 1953. |
| 66nd7. Pair of hall tables with frames and | | 66nd7. Pair of hall tables with frames and |
| console-shaped supporters of mahogany with | | console-shaped supporters of mahogany with |
| green porphyry tops. Designed by Thomas | | green porphyry tops. Designed by Thomas |
| Hope, c.1805. Cat. Nos. 522-3. | | Hope, c.1805. Cat. Nos. 522-3. |
| 68-71. Set of four low chairs of figured ash | | 68-71. Set of four low chairs of figured ash |
| with deeply curved top rails, scrolled, bowed, | | with deeply curved top rails, scrolled, bowed, |
| and pierced lyre-shaped splats, downswept | | and pierced lyre-shaped splats, downswept |
| posts, drop-in upholstered seats, and sabre | | posts, drop-in upholstered seats, and sabre |
| legs. The legs, top rails, and posts are of solid | | legs. The legs, top rails, and posts are of solid |
| wood, the splats and seat rails veneered, the | | wood, the splats and seat rails veneered, the |
| splats and top rails inlaid with mahogany in a | | splats and top rails inlaid with mahogany in a |
| pattern of geometric flower-heads, | | pattern of geometric flower-heads, |
| honeysuckle, and scrolling lines. Probably | | honeysuckle, and scrolling lines. Probably |
| designed by Thomas Hope, c.1805. Bought | | designed by Thomas Hope, c.1805. Bought |
| at the Deepdene sales, 1917, Ijot 919 | | at the Deepdene sales, 1917, Ijot 919 |
| (together with a rosewood fircscreen ). | | (together with a rosewood fircscreen ). |
| 72. Sofa table of mahogany with two flaps, a | | 72. Sofa table of mahogany with two flaps, a |
| drawer at each end, on a single bulbous | | drawer at each end, on a single bulbous |
| baluster rising from a plinth with four | | baluster rising from a plinth with four |
| downswept legs with ribbed upper surfaces | | downswept legs with ribbed upper surfaces |
| terminating in brass foliate feet with casters. | | terminating in brass foliate feet with casters. |
| Early nineteenth century. Lady Henriques | | Early nineteenth century. Lady Henriques |
| Bequest, 1953 (`Mahogany pedestal table | | Bequest, 1953 (`Mahogany pedestal table |
| with side drops'). | | with side drops'). |
| 73. Massive sideboard with a gallery on two | | 73. Massive sideboard with a gallery on two |
| pairs of cabriole legs with paw feet, of | | pairs of cabriole legs with paw feet, of |
| mahogany--with mahogany venccr (on the | | mahogany--with mahogany venccr (on the |
| upper surface ) and some ebonized mahogany | | upper surface ) and some ebonized mahogany |
| mouldings ornamented with ormolu wreaths. | | mouldings ornamented with ormolu wreaths. |
| c.1810. One of a pair from Gloucester | | c.1810. One of a pair from Gloucester |
| House, Park Lane (residence of the duke of | | House, Park Lane (residence of the duke of |
| Cambridge). I,ady Henriques Bequest, 1953. | | Cambridge). I,ady Henriques Bequest, 1953. |
| 74-75. Pair of hall tables consisting of | | 74-75. Pair of hall tables consisting of |
| console-shaped supports of walnut with | | console-shaped supports of walnut with |
| rosewood veneer supporting slabs of Anglesey | | rosewood veneer supporting slabs of Anglesey |
| porphyry. c.1820-30. Cat. Nos. 612-13. | | porphyry. c.1820-30. Cat. Nos. 612-13. |
| 76. Tripod table with coromandcl veneer and | | 76. Tripod table with coromandcl veneer and |
| Slt metal mounts supporting a circular | | Slt metal mounts supporting a circular |
| specimen marble table top from the workshop | | specimen marble table top from the workshop |
| of Michelangelo Barberi. c.1855. Cat. No. | | of Michelangelo Barberi. c.1855. Cat. No. |
| 10 (for the table top). | | 10 (for the table top). |
| 77. Rectangular wardrobe of deal entirely | | 77. Rectangular wardrobe of deal entirely |
| painted on the exterior; two doors, that to | | painted on the exterior; two doors, that to |
| proper right of two leaves, hinged; the other | | proper right of two leaves, hinged; the other |
| door of one leaf; a notched cornice; the doors | | door of one leaf; a notched cornice; the doors |
| fromed with engaged angular shafts on heavy | | fromed with engaged angular shafts on heavy |
| moulded feet formed as inverted Gothic | | moulded feet formed as inverted Gothic |
| corbels. The doors are painted by Edward | | corbels. The doors are painted by Edward |
| Bume-Jones ( 1833-98) with scenes from | | Bume-Jones ( 1833-98) with scenes from |
| `The Priorcss's Tale' by Chaucer | | `The Priorcss's Tale' by Chaucer |
| incorporating repeated portraits of Jane | | incorporating repeated portraits of Jane |
| Burden (later Mrs Morris) as the Virgin Mary | | Burden (later Mrs Morris) as the Virgin Mary |
| and her angelic escort and a dedication by | | and her angelic escort and a dedication by |
| the artist to William Morris. The interiors of | | the artist to William Morris. The interiors of |
| the doors are decorated with unfinished | | the doors are decorated with unfinished |
| figure paintings and decorative patterns by | | figure paintings and decorative patterns by |
| Morris himself. Bequeathed in 1939 by Miss | | Morris himself. Bequeathed in 1939 by Miss |
| May Morris, but first placed on loan by Jane | | May Morris, but first placed on loan by Jane |
| Morris in 1901 (it had previously been on | | Morris in 1901 (it had previously been on |
| loan to the South I.ondon Art Gallery, | | loan to the South I.ondon Art Gallery, |
| Camberwell Road). Mrs Morris declared it | | Camberwell Road). Mrs Morris declared it |
| to be her intention to bequeath the wardrobe | | to be her intention to bequeath the wardrobe |
| to the Ashmolean in a letter of 2 March 1901 : | | to the Ashmolean in a letter of 2 March 1901 : |
| she also claimed that it had been presented to | | she also claimed that it had been presented to |
| her husband and herself `on the occasion of | | her husband and herself `on the occasion of |
| our marriage'. This has been repeated ever | | our marriage'. This has been repeated ever |
| since and it has also been claimed that the | | since and it has also been claimed that the |
| piece was designed by Philip Webb for the | | piece was designed by Philip Webb for the |
| couple's first marital home, The Red House. | | couple's first marital home, The Red House. |
| But the wardrobe is inscribed to Morris only, | | But the wardrobe is inscribed to Morris only, |
| it is also of poor material, evidently | | it is also of poor material, evidently |
| improvised in construction, which is | | improvised in construction, which is |
| impossible in a work designed by Webb, and | | impossible in a work designed by Webb, and |
| it is more likely to be of an earlier date and | | it is more likely to be of an earlier date and |
| one of the pieces of furniture made by Morris | | one of the pieces of furniture made by Morris |
| and Bume-Jones for their rooms in Red Lion | | and Bume-Jones for their rooms in Red Lion |
| Square in 1857. | | Square in 1857. |
| 78. Bookcase of oak, carved and gilt and | | 78. Bookcase of oak, carved and gilt and |
| painted, of architectural character with gabled | | painted, of architectural character with gabled |
| roofs and a colummar gallery, designed by | | roofs and a colummar gallery, designed by |
| William Burges (1827-81) and made for his | | William Burges (1827-81) and made for his |
| rooms in Buckingham Street, I.ondon, | | rooms in Buckingham Street, I.ondon, |
| between 1856 and 1862. It was exhibited in | | between 1856 and 1862. It was exhibited in |
| the Medieval Court of the International | | the Medieval Court of the International |
| Exhibition in the latter year, but was damaged | | Exhibition in the latter year, but was damaged |
| and altered in 1878. `The largest piece of | | and altered in 1878. `The largest piece of |
| Burges's furniture and unrivalled for the | | Burges's furniture and unrivalled for the |
| richness and profusion of its decoration' | | richness and profusion of its decoration' |
| (-Mary Airon in The Strange Genius Of | | (-Mary Airon in The Strange Genius Of |
| Wj%¢eeB„7g:gGf(NationalMuseumofwales, | | Wj%¢eeB„7g:gGf(NationalMuseumofwales, |
| Cardiff,1981), no.136, p. 75). The paintings | | Cardiff,1981), no.136, p. 75). The paintings |
| are all of subjects connected with art, taken | | are all of subjects connected with art, taken |
| from both Christian and pagan legends, and | | from both Christian and pagan legends, and |
| are by E. S. Poynter, N. H. S. Westlake, E. | | are by E. S. Poynter, N. H. S. Westlake, E. |
| Burne-Jones, Simeon Soloman, C. Rossiter, | | Burne-Jones, Simeon Soloman, C. Rossiter, |
| Thomas Rossitcr, Thomas Morten, Albert | | Thomas Rossitcr, Thomas Morten, Albert |
| Moore, Frederick Small field, W. F. Yeames, | | Moore, Frederick Small field, W. F. Yeames, |
| W. Weekes, S. A. Fitzgerald, and H. Stacy | | W. Weekes, S. A. Fitzgerald, and H. Stacy |
| Markes. Purchased in 1933 by Kenneth Clark | | Markes. Purchased in 1933 by Kenneth Clark |
| (who acknowledged in the A»7?"¢/ Rcporf | | (who acknowledged in the A»7?"¢/ Rcporf |
| that it was `not acceptable to present day | | that it was `not acceptable to present day |
| taste'). Placed on loan at Knightshayes. | | taste'). Placed on loan at Knightshayes. |
| Devon (the National Trust), in 1954. | | Devon (the National Trust), in 1954. |
| 79. Cabinet for framed drawings, of | | 79. Cabinet for framed drawings, of |
| mahogany in two stages crowned by a plain | | mahogany in two stages crowned by a plain |
| pediment, the doors of the upper stage of | | pediment, the doors of the upper stage of |
| glass, smaller glass doors in the lower stage, | | glass, smaller glass doors in the lower stage, |
| a shelf between the two stages (the lower | | a shelf between the two stages (the lower |
| being deeper). Designed by John Ruskin for | | being deeper). Designed by John Ruskin for |
| the collection he gave to the University in the | | the collection he gave to the University in the |
| l880s. The Department of Antiquities also | | l880s. The Department of Antiquities also |
| retains the similarly plain mahogany cabinets | | retains the similarly plain mahogany cabinets |
| given to Ruskin by his parents when he was | | given to Ruskin by his parents when he was |
| an undergraduate to house his collections of | | an undergraduate to house his collections of |
| eggs and minerals-these are now employed | | eggs and minerals-these are now employed |
| for Near Eastern seals and Graeco-Roman | | for Near Eastern seals and Graeco-Roman |
| seals. | | seals. |
| 80-81. Pair of rectangular display cases | | 80-81. Pair of rectangular display cases |
| framed in walnut on elaborate stands of | | framed in walnut on elaborate stands of |
| carved walnut; each stand with a frieze of | | carved walnut; each stand with a frieze of |
| scrolls and flowers centring in a boy's head | | scrolls and flowers centring in a boy's head |
| APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM | | APPENDIX II BRITISH FURNITURE IN THE ASHMOLEAN MUSEUM |
| in a glory; the cabriole legs carved with | | in a glory; the cabriole legs carved with |
| drapery, husks, horizontal fluting, and | | drapery, husks, horizontal fluting, and |
| acanthus, headed with boys' busts, on claw | | acanthus, headed with boys' busts, on claw |
| and ball feet which are connected with | | and ball feet which are connected with |
| scrolling stretchers carved with acanthus and | | scrolling stretchers carved with acanthus and |
| fluting centring on a vase. Early nineteenth | | fluting centring on a vase. Early nineteenth |
| century, inspired by French seventeenth | | century, inspired by French seventeenth |
| century models. J. F. Mallett Bequest, 1947. | | century models. J. F. Mallett Bequest, 1947. |
| 82. A rectangular table display case, the | | 82. A rectangular table display case, the |
| glazed top framed in moulded brass, the | | glazed top framed in moulded brass, the |
| frieze of cross-banded walnut with ebony | | frieze of cross-banded walnut with ebony |
| stringing and a border of pale walnut, on | | stringing and a border of pale walnut, on |
| square straight tapering legs with cross-stretchers | | square straight tapering legs with cross-stretchers |
| of bow form, also of a pale walnut. | | of bow form, also of a pale walnut. |
| Early nineteenth century. | | Early nineteenth century. |
| 83. A rectangular upright display case of | | 83. A rectangular upright display case of |
| figured walnut; the principal case rising above | | figured walnut; the principal case rising above |
| another of sloped desk-form; supported on | | another of sloped desk-form; supported on |
| seven octagonal tapering legs carved with | | seven octagonal tapering legs carved with |
| Ionic capitals, reeded necking, and acanthus | | Ionic capitals, reeded necking, and acanthus |
| leaves united with a flat scrolled stretcher | | leaves united with a flat scrolled stretcher |
| below which are bun feet; three of the legs | | below which are bun feet; three of the legs |
| are at either end and at the centre of the front | | are at either end and at the centre of the front |
| of the cabinet, two at either end of the back, | | of the cabinet, two at either end of the back, |
| and two at intermediary points between the | | and two at intermediary points between the |
| first centre leg and the two back legs. Early | | first centre leg and the two back legs. Early |
| nineteenth century. J. F. Mallett Bequest, | | nineteenth century. J. F. Mallett Bequest, |
| 1947. | | 1947. |
| 84. A rectangular display case of brass, of | | 84. A rectangular display case of brass, of |
| three divisions, with five doors, made by the | | three divisions, with five doors, made by the |
| firm of Mantelet, supported by a wooden base | | firm of Mantelet, supported by a wooden base |
| with low cupboards, the three doors of which | | with low cupboards, the three doors of which |
| arc of modern Chinese cut lacquer with | | arc of modern Chinese cut lacquer with |
| figures against a black background. Early | | figures against a black background. Early |
| nineteenth century. J. F. Mallett Bequest, | | nineteenth century. J. F. Mallett Bequest, |
| 1947. Mallett also possessed two other | | 1947. Mallett also possessed two other |
| similar but smaller cabinets, according to the | | similar but smaller cabinets, according to the |
| inventory of his collection. | | inventory of his collection. |
| 85. A rectangular upright display case of | | 85. A rectangular upright display case of |
| mahogany, on eight square tapering legs | | mahogany, on eight square tapering legs |
| connected with a flat-shaped stretcher; the | | connected with a flat-shaped stretcher; the |
| pilaster strips framing the case, the frieze, and | | pilaster strips framing the case, the frieze, and |
| the legs with herringbone cross-banded | | the legs with herringbone cross-banded |
| veneer in recessed panels; the central front | | veneer in recessed panels; the central front |
| leg and the centre of the frieze of a different, | | leg and the centre of the frieze of a different, |
| darker, wood (probably rosewood); ormolu | | darker, wood (probably rosewood); ormolu |
| foliate feet and foliate collars on each of the | | foliate feet and foliate collars on each of the |
| front four legs and ormolu rectangularly | | front four legs and ormolu rectangularly |
| framed rosettes on their heading blocks. | | framed rosettes on their heading blocks. |
| Gaspard Oliver Farrer Bequest, 1946. The | | Gaspard Oliver Farrer Bequest, 1946. The |
| splendid art bronze foliate handle of the key | | splendid art bronze foliate handle of the key |
| to this case is, perhaps, original seventeenth | | to this case is, perhaps, original seventeenth |
| century work. | | century work. |
| 86-87. Pair of columnar pedestals carved | | 86-87. Pair of columnar pedestals carved |
| with cherubim and large scrolls and acanthus. | | with cherubim and large scrolls and acanthus. |
| Probably early twentieth century but in a | | Probably early twentieth century but in a |
| Renaissance style. Provenance unrecorded. | | Renaissance style. Provenance unrecorded. |
| 88. A rectangular upright bookcase; with two | | 88. A rectangular upright bookcase; with two |
| glazed doors and inverted Gothic corbel feet; | | glazed doors and inverted Gothic corbel feet; |
| the mouldings, glazing bars, and massive | | the mouldings, glazing bars, and massive |
| shaped feet of solid rosewood; the walls all | | shaped feet of solid rosewood; the walls all |
| of dark oak; the adjustable shelves of oak; the | | of dark oak; the adjustable shelves of oak; the |
| displayed hinges and the handles of stamped | | displayed hinges and the handles of stamped |
| brass, gilded. A copy of a bookcase made by | | brass, gilded. A copy of a bookcase made by |
| Ernest Gimson in 1913, which is now in the | | Ernest Gimson in 1913, which is now in the |
| Holboum of Menstrie Museum, Bath, | | Holboum of Menstrie Museum, Bath, |
| commissioned for his private use by C. F. | | commissioned for his private use by C. F. |
| Bell, Keeper of the Department of Fine Art | | Bell, Keeper of the Department of Fine Art |
| ( 1908-31 ), from Peter Waals ( 1870-1937) | | ( 1908-31 ), from Peter Waals ( 1870-1937) |
| and completed for him in 1926. Bought in | | and completed for him in 1926. Bought in |
| 1972 from the collection of Charles and | | 1972 from the collection of Charles and |
| Iravinia Handley-Read. | | Iravinia Handley-Read. |
| 89. Table of Brazihian mahogany made to | | 89. Table of Brazihian mahogany made to |
| support a brass-framed glass vitrine (made by | | support a brass-framed glass vitrine (made by |
| Messrs Sage) with fretted spandrels and | | Messrs Sage) with fretted spandrels and |
| straight legs on blocked feet. The recesscd | | straight legs on blocked feet. The recesscd |
| panels of ffieze and legs are veneered with | | panels of ffieze and legs are veneered with |
| quilted macaree framed with ebonized | | quilted macaree framed with ebonized |
| mahogany beading, the ffieze in both long | | mahogany beading, the ffieze in both long |
| sides is centred on a marquetry representation | | sides is centred on a marquetry representation |
| of a glass bowl in sycamore and rosewood on | | of a glass bowl in sycamore and rosewood on |
| an oval field of quilted macaree. Made in | | an oval field of quilted macaree. Made in |
| 1989 by Ray Ansty of the Museum workshop; | | 1989 by Ray Ansty of the Museum workshop; |
| commissioned in 1988 by Christopher | | commissioned in 1988 by Christopher |
| Shephard for the Museum's collection of | | Shephard for the Museum's collection of |
| Venetian glass. | | Venetian glass. |
| 90. A pair to No. 89 made by Mr Ansty in | | 90. A pair to No. 89 made by Mr Ansty in |
| 1991. | | 1991. |
| 91. A Rectangular tabletop of satinwood | | 91. A Rectangular tabletop of satinwood |
| with rounded comers, decorated with pen | | with rounded comers, decorated with pen |
| and brush in indian ink under hard varnish | | and brush in indian ink under hard varnish |
| with a central panel of the three Graces within | | with a central panel of the three Graces within |
| six omanental bands of dense foliage. | | six omanental bands of dense foliage. |
| Colonial or provincial work. Presented by Mr | | Colonial or provincial work. Presented by Mr |
| K. D. Gloag and Miss Gloag from the estate | | K. D. Gloag and Miss Gloag from the estate |
| of Mrs Gloag of 8, Northmoor Road, | | of Mrs Gloag of 8, Northmoor Road, |
| Oxford. Set on a mahogany baluster support | | Oxford. Set on a mahogany baluster support |
| with three downswept feet made by Ray | | with three downswept feet made by Ray |
| Ansty in 1988. | | Ansty in 1988. |